Massimo Ricci, Touching Extremes, May 1, 2005

Mecha Fixes Clocks is Michel F Côté, whose multitask approach to music making has always yielded good results, his albums under the Bruire moniker an excellent specimen of lively imagination enhanced by the freshness of his systematic change of perspective. Orbiting with screwdrivers carries a combination of mystery and extraneousness from any given canon, its flavour determined by a painstaking work on every nuance of the many instruments used; its creator alone is credited with “electronics, percussions, keyboards, accordions, computer and home mades”, but he’s flanked by a who’s who of Canadian independent musicians which includes - among the many - Diane Labrosse, Martin Tétreault, Jean Derome, Tom Walsh. Most of this music sounds like a presage; no recurrent themes, no moral obligations for macrocephalous orchestrations or pompous contrapuntal developments. Every sound seems to exist just for the short section it belongs to, a barely perceptible continuity broken by piano or guitar drops and deeply resounding bass coming from nowhere amidst complex relationships of underground electronics and weak string lamentations; the finest example can be heard in the cinematic Nano rotary for nothing, which somehow incarnates the whole aesthetic of this project. Côté does not want his vision to become too popular, remaining hidden behind this series of fantasies that one could compare to a black-and-white dream where all the components move in a sad choreography despite the absence of a defined meter or - heaven forbid - a “rhythm”. It happens that many of these pastels are in synchrony with the muted qualities of our most reflective self; yet they disappear after a while, leaving no trace of their evanescent significance - just the vagueness of a frail beauty.

the vagueness of a frail beauty.