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Dolph Mulder, Vital, no. 1331, April 11, 2022
Thursday, April 14, 2022 Press

Discovering the work of Fred Frith and René Lussier, Falaise chose a similar direction in developing his own voice as a guitarist. From early on, he was interested in extending the possibilities and sounds of the electric guitar. For more than 25 years, he has been a prominent force in the scene of Québec and played with groups like Papa Boa, Klaxon Gueule, Subtle Lip and many other projects and played with many other musicians from Québec. One finds his name on dozens of albums recorded in the last twenty years, from pop and Avant rock to improvised and modern composed music. He records a solo effort now and then, and G(o) sol(o) is the fifth one in this series. In his earlier solo statements overdubbing, editing, and other post-production procedures were essential constitutive elements. Not for his new recording, where Falaise kept these at a minimum to create music played as it is heard. It is hard to believe that sometimes all is played by Falaise simultaneously, but looping and other devices easily create this impression. His experimental and exploring music is beyond recognizable styles and idioms. It is a very original, rich musical world on its own. The opening track Slogan starts with rock-based sensibilities. It is the first of two lengthy improvisations (12 minutes), whereas the other pieces stay 4-5 minutes. The work goes through different stages and feels like a journey, encountering many different textures and patterns. Olga en gondole has a laid back and open atmosphere. On the contrary, Gogol à vélo is a freaky and experimental improvisation built from short movements and interruptions. Galop starts from percussive-like sequences. The sounds change in intensity and colour. Closing track L’ocelot d’Oslo is created from looped sounds of an ambient and keyboard-like nature, with nervous high-pitched sketchy interruptions moving towards a culminating point. His abstract sonic adventures for prepared guitar are varied and intense. Lively and far from academic.

His abstract sonic adventures for prepared guitar are varied and intense. Lively and far from academic.

Review

Brad Rose, Foxy Digitalis, February 11, 2022
Monday, April 11, 2022 Press

What a magnificent album from a label (Ambiances Magnétiques) that very much has my attention. Joane Hétu is a composer, saxophonist, and vocalist and her work is always inventive and sonically captivating. Tags collects four ‘orphans’ — pieces that didn’t have a home elsewhere — and shows everything that makes Hétu great. Lithe woodwinds dance across simmering floors while voices shoot upward like ancient machines hidden underground come to life. Beautiful guitar tones gloss through blank corridors, flitting between resonant drones and rippling splurges, interconnected with an underlying sigh of relief. It’s amazing that these four pieces weren’t written with each other in mind because Tags works as a wonderfully cohesive album. Recommended.

What a magnificent album from a label that very much has my attention.

Review

Brad Rose, Foxy Digitalis, March 11, 2022
Monday, April 11, 2022 Press

Inspired (loosely) by different underwater depths, Jean-François Primeau builds interconnected worlds of intricate harshness and beauty. Echoing digital swells grow and attach to the seafloor as bubbling arpeggios zip back and forth through light streams in the water. Glitching blurs fade into the black depths, sending sonar pings as disparate points of light. Drones stretch to the breaking point before circling a metallic drain, turning into humming crystals in the blink of an eye. Primeau’s digitized expanses are wondrous.

Primeau’s digitized expanses are wondrous.

Kritik

Frank P Eckert, Groove, March 16, 2022
Monday, April 11, 2022 Press

Das von Joane Hétu kuratierte Montréaler Label Mikroclimat beschränkt sich ebenfalls nicht auf Jazz, nicht mal im weitesten Sinne. Das langformatige Motile cilia (Mikroclimat) des Duos Ora aus Label Co-Betreiber Maxime Corbeil-Perron und Stéphanie Castonguay spielt zum Beispiel im von Industrial und Noise her denkenden Dark Ambient mit Überschneidungen zu modernen Post-Club-Experimenten. Aber eben mit den Werkzeugen der freien Improvisation und der elektroakustischen Komposition, semi-akustisch assembliert.

… plays in dark ambient thinking from industrial and noise with overlaps to modern post-club experiments.

Kritik

Frank P Eckert, Groove, March 16, 2022
Monday, April 11, 2022 Press

Joane Hétu ist seit den Achtzigern in zahlreichen, immer wechselnden Bands und Ensembles der Post-Rock — und Jazz-Szene Montréals aktiv. Vor allem in der Rolle einer Vermittlerin zwischen experimentellen Musiker·innen, die eben nicht nur, nicht pur Jazz oder Prog oder kaustische Elektroakustik machen wollen. Tags (Ambiances Magnétiques), eine Zusammenstellung von Solostücken oder „Waisenkindern”, wie sie es nennt, ist damit eine eher untypische Ausnahme im Repertoire, zeigt aber schon ziemlich gut, was noch so an Potenzial im freien Teil von Jazz und verwandten experimentellen Genres schlummert.

… mais il montre déjà assez bien le potentiel qui sommeille encore dans la partie libre du jazz et des genres expérimentaux apparentés.

Kritik

Frank P Eckert, Groove, March 16, 2022
Monday, April 11, 2022 Press

Wo das Montréaler Ensemble SuperMusique agiert, bleibt Pop eher außen vor. Was nicht heißen muss, dass die elektroakustischen Improvisationen von Sonne l’image (Ambiances Magnétiques) schwer verständlich oder unzugänglich wären. Mitunter sammeln sie sich sich sogar zu richtigen Songs, um dann direkt wieder in freien Freakout auszubrechen.

Which is not to say that Sonne l’image’s (Ambiances Magnétiques) electroacoustic improvisations are difficult to understand or inaccessible. Occasionally they even gather into proper songs, only to break right back out into free freakout.