This is stunning minimal jazz driven by sonic invention. Double bassist Martel has long been a fixture in the Montréal jazz and Musique Actuelle scene, and here he produces a tour de force filled with the possibilities not only of the genre, but for his instrument as well. His prepared bass experiments involve attaching paper clips and sticks, among other objects, to the bass, as well as trying out several variations of bowed and finger techniques. The result is amazingly dense, and coherent. You do not get the sense that this is virtuoso masturbation. Martel is seeking out new sounds, new ways to force the bass center stage, and he succeeds. Highlights include Cages, which is probably a nod to the master of prepared instrumentation. Dresser and Felt Clips hum and ache in ways the bass rarely has been able to convey. The two part Mulo suite is a perfection of his harmonic and experimental ideas, as is the amazing Correspondances Domestiques. Martel has also applied his vision to the Montréal avant-garde band Rake Star, but here, following his own ideas, the results are more satisfying. While Canada has not been known for its adventurous music, enough proof has been amassed that now that ought to change. From the Noise and avant-rock typical of Canadian labels like Alien8, to the powerful jazz scene in Montréal, our neighbors have been quietly but forcefully doing more than just slowly becoming a new model for real Democracy. Martel is only one of the visionary artists fueling that transformation. 9/10

The Canadian double-bassist Pierre-Yves Martel released a solo-album through Ambiances Magnétiques. This album features 18 short tracks, the longest not clocking over four and a half minutes, in which the prepared double bass is the central issue. Referring to the welcoming of new ideas by John Cage and Derek Bailey, this musician plays his instrument in an unorthodox way. The outcome is a mixture of instrumental blues and improv. sessions. It’s nice to notice how many and varied sounds Martel can create with just one instrument, due to which the atmosphere changes regularly. Sometimes one can’t even believe hearing a double bass, despite the excellent sound quality.

The cover of this album by DB Boyko, Christine Duncan and Jean Martin features the face of a clown, reminding of a fair. Both vocalists DB Boyko and Christine Duncan sing in an unusual way, creating and reciting their self-invented language. Jean Martin accompanies them with his multi-coloured percussion. It’s funny, almost childish and certainly very entertaining at the same time. The music ranges from playful vocal art to moments in which Tibetan monks seem to be singing.

The Montréal-based string quartet Quatuor Bozzini offer a new reading of Steve Reich’s work Different trains, which follows the version by the Kronos Quartet from 1990. This work has been devided in three parts; America-before the war, Europe-during the war and After the war, all three clocking around nine minutes. Lovely violin playing has been larded with repetitive vocal samples and sounds from trains from the 30’s and 40’s, resulting in lovely and rich layers of sounds. Each track offers a certain tension, which makes you keep listening in full fascination. A very intruiging work!

The fourth release in these live series, offers recordings of five gigs performed in April 2003. Again this turntables duo presents an album full of noise. The opening track is a slow-building climax of white noise with on top of it nice vocal samples and ending in rhythmic noise eruptions. The second track heads off rather carefully with tiny noises (like a wild animal), continued with a rhythmic mechanical pattern. The third and fourth piece, both recorded in Lyon, are in the same vein, built upon crackles, concrete sounds and sharp noises. These noise manipulations are in a constant flow, been changed actively all the time. The music is calm, extreme and harsh at the same time.

Written for two narrators, two soloists, to percussionists and a thirteen-piece self-conducted mixed choir, this album is an highly emotional mixture of opera and experimental text declarations. This Montréal-based composer tells a story abot Lui, who is dying, scared and delirious, Elle, who acts as an ironic witness and Choir, who represent the others that will die one day. The interaction beween these groups can be considered Meredith Monk meeting ritual chants and chamber music neeting zen improv acoustics. Such projects can’t be heard often, an interesting mixture of styles and ingredients. Especially the calmer and religious second half of the album is beautiful.