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Focus Québec — Nouveaux satellites

Pierre Durr, Revue & Corrigée, no. 124, June 1, 2020
Monday, July 6, 2020 Press

Ce Feu aimant est le premier opus d’une jeune formation, un quatuor au sein duquel émarge le claviériste Maxime Corbeil-Perron, l’un des initiateurs du label numérique Kohlenstoff, mais aussi auteur d’un enregistrement sur Mikroclimat il y a trois ans, Polychrome. À ses côtés officient Sylvain Gagné (bassiste et auteur en 2017, sous le nom de De Grèle, d’un enregistrement lui aussi sur Mikroclimat), Simon Trottier (guitariste) et Maya Kuroki à la voix (elle aussi a un enregistrement à son actif sur Mikroclimat, Chromalespsie, réalisé par son duo avec Rainer Wiens, Rippleganger). Se partageant entre trois longs morceaux de plus ou moins dix minutes et quatre titres de deux/trois minutes, ce Feu aimant est pour le moins attirant, surtout lorsque l’auditeur a été nourri au biberon dudit krautrock, auquel une large part de l’esthétique de la synthèse siamoise renvoie: aspects de certaines sessions improvisées à la Cosmic Jokers croisés à Xhol, effets de claviers évanescents, avec un apport plus net d’une pulsion groovy, nourrie par quelques échantillonnages… et de délicates dentelles guitaristiques.

Focus Québec — Planètes connues

Pierre Durr, Revue & Corrigée, no. 124, June 1, 2020
Monday, July 6, 2020 Press

La compositrice Ana Sokolović, native d’une Serbie qu’elle a quittée au début de la guerre civile yougoslave et désormais canadienne, a déjà croisé le Quatuor Bozzini pour l’enregistrement de sa pièce «In Between», dans un album collectif consacré au gamelan, Higgs Ocean. Et l’une de ses œuvres fut aussi jouée par la pianiste Brigitte Poulin, déjà pour le compte de la Collection QB (0805). Le Quatuor, qui offre régulièrement des monographies consacrées aux compositrices et compositeurs canadien.ne.s (Simon Martin, Christopher Butterfield, Michel Gonneville) a donc jeté son dévolu sur elle et quatre de ses pièces, chacune inspirée par les arts visuels, théâtraux ou cinématographiques. «Ghost 1» et «Ghost 2» s’appuient sur des sculptures exposées lors de la biennale 2015-2017 à l’espace Forget par Verina Baxter et Klaus Duschat; «Blanc dominant» s’inspire d’une œuvre picturale de Guido Molinari; «Troisième Page après le soleil» évoque un court-métrage de Théodore Ushev (https://www.youtube.com/watch?v=Iki9rjmCp3U). Et la pièce centrale, déclinée en dix parties, se rapporte à dix personnages de la Commedia dell’arte; des sources d’inspiration propres à diversifier le jeu des musiciens et les climats sonores proposés: l’allant du «Capitaine», la douceur circonspecte de «Colombine», l’assurance du «Docteur», les malices de «Brighella», l’enjouement des Amoureux trouvent vie, tandis que l’interprétation de «Troisième Page…» traduit davantage le caractère méditatif de la compositrice que les œuvres du peintre. Un univers plaisant pour l’auditeur…

Focus Québec — Planètes connues

Pierre Durr, Revue & Corrigée, no. 124, June 1, 2020
Monday, July 6, 2020 Press

En ces jours de confinement, tous les médias et réseaux sociaux nous ont fait part des libertés nouvelles reconquises par les animaux sauvages dans les espaces anthropisés et notamment les villes: le castor fait partie de ces créatures. Depuis 1998 et Mets ta langue, année de sa dernière apparition (et notre crainte de devoir le compter dans les espèces menacées), il n’a en fait rien perdu de sa truculence. Tout juste s’était-il caché «Sous la couverture», à laquelle peut-être il voulait «Confier sa nudité», attendant «Vos caresses», «Se dépouillant», «Dans la joie l’amour». Là, vous vous dites: «Tu m’ dis ça», mais «Si tu le veux», je vais «Manier ta manière» en sa Compagnie, dans laquelle se trouvent Joane Hétu, Diane Labrosse, Pierre-Yves Martel, Jean Derome et Pierre Tanguay. «On va s’la couler»… tout en s’extasiant des trouvailles, des gags sonores et surtout des textes.

Review

Normand Babin, Néomémoire, June 25, 2020
Monday, June 29, 2020 Press

What is retro futurism if not a way of seing the future holding on what comes from the past? In Intoxidation, first shared composition between composer Vergil Sharkya’ and the experimental vocalist Sarah Albu, there is a large number of datas that were entered and reprogramed. We can feel here influences from concrete musique and electronic music from its beginning around the 60s. But we can also hear some almost classical vocal lines, as in Mâchoire de sirène for example. A ‘déjà vu’ impression which bring us back when future was bright and clean. But as we dig in the listening, we understand the two artists want to bring us much further. We understand we are facing here a reinterpretation of the classics and a collage, as in visual arts, of diverse sound schemes. Superposed in many layers, this is a very rich sound palette. The collage reminds us of the surrealism era and, in fact, there is some surrealism in the music and the titles of the pieces. Is this retro futurist surrealism? Of course.

In tracks number 4 and 5: coquillage radio vs. ancient sea receiver and récepteur de la mer antique vs. radioshell the artists play with our ears. Hard to say if this is the same tracks played differently, simply switching from one ear to the other, giving more volume to one track then to the other, but this little virtuosity trick makes you smile and makes you feel, true or not, you suddenly understand what is happening.

… merely a vehicle for the sauce is the most ambitious piece of the album. In this song, Sarah Albu uses the entire spectrum of sound a human can possibly produce with the voice. Sarah Albu’s voice is remarkably pure, she uses very little vibrato, a white voice that suddenly cracks or seem to diffract. From pure arpeggios to meows, vibration noises made with the lips to throat singing, etc. The electronic are there to accompany and amplifie. Here is what can be consider an aria from the 21st Century. This is a virtuoso music, there is a mini-drama, a story, so the technical and sensitive aptitudes of the singer are fully implied. Both the performance and the composition make this a very successful piece.

This album has a program, a beginning, an end, some vast and great moments, some funny moments, this album reflects the perfect harmony between the two artists and this harmony transcends through magnificent songs.

This album has a program, a beginning, an end, some vast and great moments, some funny moments, this album reflects the perfect harmony between the two artists and this harmony transcends through magnificent songs.

Review

Normand Babin, Néomémoire, June 16, 2020
Wednesday, June 17, 2020 Press

If one would translate the title of this album, Feu aimant, this would probably give something as ‘magnetic fire’. Indeed, as a fire, this album acts as a magnet for the ears and the eyes. Siamois Synthesis, the name of the new band, also unveils the content of the album: a synthesis of different musical influences such as experimental, rock, techno, folk, ambiant and more, where tracks alternate between a more energetic music and a more floating and meditative one. If its references are quite eclectic, the album is very coherent though, tracks flow naturally one from the other. We could evoke some Cibo Matto from the first years in a less sweetened version mostly because of the voice of Maya Kuroki, or we could also recall of a less dark Arca mostly because of the sometimes very dirty electric guitar of Simon Trottier and of the bass of Sylvain Gagné. The music is very cinematographic, we dream of a show with video, an art where Maxime Perron-Corbeil is excellent, for now you find him at the keyboards and the computer. Perron-Corbeil is a few steps ahead when talking about fire. Seen last year in Toronto, a musical video, Displacement, offered a bonfire, a mesmerizing image that still is glued to my retina since.

The fifth and sixth tracks, TriggerWarning_drumsdrumsdrums and Urizen, follow each other with no stop and are the chore of this recording: a slow but relentless crescendo in a dramatic intensity. Urizen is a mythological character from the literary universe of William Blake, an embodiment of conventional reason and law. A frightening character that Siamois Synthesis renders with a strong realism.

Available in downloadable format or in vinyl LP, Feu aimant deserves many listenings. An album with a good concept, a band of four equally talented musicians who obviously enjoy playing together, a music at the thin edge between experimental and pop which make us believe in a colorful and diverse future for music. Hybrid concepts are good change agents, catalysts for new movements, Siamois Synthesis has everything to get international recognition and we can’t wait for a second album and are impatient to see them on stage.

… a music at the thin edge between experimental and pop which make us believe in a colorful and diverse future for music. Hybrid concepts are good change agents, catalysts for new movements, Siamois Synthesis has everything to get international recognition…

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