Xyz
Lauzier, Martel, Tétreault

La Formule Xyz

ET 14
2011
CD
1 disque
11,95 CAD -15%

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Radio ›› La Formule Xyz
5 juillet 2012
Par Ed Pinsent in The Sound Projector (RU), 5 juillet 2012

Texte

«Succumb freely to these splendid close-knit wafers of electro-acoustic intensity, that’s my advice.»

We received a bundle of five items from the & Records label of Montréal which arrived here 20 January 2012. They all come in foldout silkscreen covers designed by Fabrizio Gilardino. Here are two of them.

On Pink Saliva (&11), the trio of Pink Saliva perform 12 instrumentals live in the studio using a combination of trumpet, percussion, a bass guitar and a laptop, plus microphones for occasional wailing feedback effects and a lap-steel guitar. I was encouraged by the presence of Alexandre St-Onge on this one, as he made an intriguing “sleepytime” documentary record in 1999 called Une mâchoire et deux trous while wearing his “sound artist” beret. I enjoyed that one, but this record I find less compelling. The performances are mostly a vehicle for Ellwood Epps to play rather pointless raspberry-blowing effects through his trumpet, while the other two musicians provide listless backdrops of chuntery noise. I would welcome a bit more excitement or danger in the playing, but it feels very predictable — in spite of the obvious commitment to free-form playing. Things feel random, but not much fun; there is something self-important and solemn about the overall tone of these fellows which I mistrust.

The record XYZ (&14) fares much better with me, with its stern no-nonsense discipline that at times feels as strong as iron. It was made by the trio of Martin Tétreault, Pierre-Yves Martel and Philippe Lauzier, all Montréal players to a man. I see they played before in 2008 on a CD called Disparition de l’usine éphémère, using not-dissimilar instrumentation but joined by the acoustic guitarist Kim Myhr. What we got here is the winning mixture of Lauzier’s woodwinds (bass clarinet and soprano sax) with live electronics — be it the feedback-static hum of Martel or the more complex set-up of Tétreault, which involves magnetic pickups, a mixing unit of some sort, and something called the Tétronic which is probably a device of his own making. Unlike the above record which hops about as though all the players have pants full of fleas, this disk just sits there and groans out monotonous and unnatural tones like a bad-tempered old turtle who missed his evening meal. No concessions made by the three brooding magicians here to variations in tempo, register, or pitch, and XYZ soon succeeds in wearing down your resistance. Even the very track titles refuse to acknowledge the listener’s humanity, alienating us with their alphabet soup of letters which resemble algebraic formulae. If these balmy summer days lead you to a hankering for some intensive Nakamura-styled feedback laser surgery but you’d also like to back it up a notch in the direction of Anthony Braxton or Jean-Luc Guionnet, then this is your next purchase. Succumb freely to these splendid close-knit wafers of electro-acoustic intensity, that’s my advice.

blogue@press-4733 press@4733
3 mai 2012
Par Lawrence Joseph in Montreal Mirror (Québec), 3 mai 2012

Texte

«Far from formulaic, there are composers’ minds at work here, with gratingly engaging foreground phenomena emerging from background drones, concerto style. 8.5/10»

What happens when two classically trained musicians forego their customary instruments and get noisy? Martel’s viola da gamba is exchanged for static of unspecified origins, and Lauzier’s bass clarinet and sax are prepared and amplified to the point of feedback. Similarly, Tetreault forgoes LPs and focuses on the in-bred sound of his turntables’ motors and needle pick-ups. Far from formulaic, there are composers’ minds at work here, with gratingly engaging foreground phenomena emerging from background drones, concerto style. 8.5/10

blogue@press-4670 press@4670
1 avril 2012
Par Stefano Isidoro Bianchi in Blow Up #167 (Italie), 1 avril 2012

Coupure de presse

blogue@press-4639 press@4639
27 mars 2012
Par Pierre Cécile in Le son du grisli (France), 27 mars 2012

Texte

«Cette fin d’alphabet est poétique, au point qu’on se contentera à présent comme le trio d’un alphabet de trois lettres!»

Ils avaient déjà joué avec Kim Myrh (Disparition de l’usine éphémère), les voici réunis pour mettre au jour une formule éponyme (XYZ). On parle à son sujet de musique post-industrielle, d’improvisation électroacoustique qui partirait dans tous les sens. Et force est de constater qu’il y a de ça chez Pierre-Yves Martel (feedback, static), Martin Tétreault (pick-up, equalizer) et Philippe Lauzier (saxophone soprano, clarinette basse, ampli préparé).

On passe près d’un chantier extraordinaire, des plaques de métal sont travaillées par des appareils trépidants qui s’enrayent. Derrière, il y a ce jardin où nous berce une cascade (le soprano se sert de sa rumeur comme d’un tremplin). On sort alors par une autre porte, et c’est un installation qui nous accueille: des machines à coudre trépignent guidées par le commandement de Lauzier. Cette fin d’alphabet est poétique, au point qu’on se contentera à présent comme le trio d’un alphabet de trois lettres!

blogue@press-4637 press@4637
1 janvier 2012
Par Rigobert Dittmann in Bad Alchemy #72 (Allemagne), 1 janvier 2012

Coupure de presse

blogue@press-4690 press@4690
26 décembre 2011
Par Frans de Waard in Vital #812 (Pays-Bas), 26 décembre 2011

Texte

«An excellent release of fine noise.»

At cross-roads. That’s what comes to mind when listening to the trio disc of Pierre Yves Martel, Philippe Lauzier and Martin Tetreault. No instruments are listed on the cover, but let’s assume it’s a turntable and an assorted range of acoustic instruments and electronic sound generators. They are used to play improvised music, and so far nothing new. But the end-result is quite interesting: its as if these three men are attempting at something that is more noise based than is common in these circles. At a cross-road of improvised music and noise. Obviously not a HNW release but in a true experimental fashion a disc of intelligent noise. It seems all recorded straight to tape, with microphones picking up very closely the sounds that are produced, which makes this pretty ’in y’r face’ release, perhaps with the exception of y = cZ + d, which sounds a bit distant. Things work best when all sound sources are used on an equal level, acoustic and electronic sounds colliding together in an infinite mixture of possibilities. An excellent release of fine noise.

blogue@press-4599 press@4599