Avec Bryologie, le quatuor pousse plus loin la transmutation des genres déjà amorcée avec leurs précédents albums. Jeux de formes alliant tantôt improvisation et composition bien serrée. Textures acoustiques, électriques et électroniques servies sur fond rock, jazz ou avant-garde. Formation inhabituelle s’il en est une: Guido Del Fabbro (violon et électroniques), Simon Lapointe (claviers), Antonin Provost (guitares) et Némo Venba (trompette et batterie), Rouge Ciel propose une musique axée sur le plaisir de la création sans contraintes.
- Monsieur Fauteux, m’entendez-vous?
- MFMV 19 / 2010
- UPC/EAN 771028251926
- Durée totale: 43:18
CD 2.0MFMV 1916,95 CAD
Quelques articles recommandés
La presse en parle
Stuart Broomer, Musicworks, no 110, 1 juin 2011The combination of stadium theatricality and subtle deconstruction gives Rouge ciel a fascinating weirdness, a sense that the players are willing to try anything.
Dolf Mulder, Vital, no 778, 26 avril 2011I enjoyed the interplay of the musicians […] through this emotional work.
Pierre-Jean Lavigne, CISM, 28 décembre 2010«Yo, c’est trop fly ton shuffle mix»
Bruce Lee Gallanter, Downtown Music Gallery, 17 décembre 2010… it is delightful gem throughout, like a long lost treasure from the olden days (of the seventies).
François Couture, Monsieur Délire, 22 novembre 2010… attitude plus avant-rock, avec passages d’improvisation libre, mais toujours cette écriture complexe d’avant-prog instrumental métissée de musique actuelle québécoise.
Four new releases from Ambiances Magnetiques. One of them is by veteran Joane Hétu, who worked on a career that more then 25 years now. You may know her from all-women groups Wondeur Brass, Justine and Les Poules. Avant rock was their thing. Gradually Hetu moved however to more abstract territories and profiled herself as a composer. Récits de neige is the third part of a trilogy about winter, this time a very snowy winter. Effectively Hetu evokes and visualizes this climate. Helped out by the Ensemble Supermusique. Prominent is a french spoken text no doubt about winter and snow. The music often plays a servile role for the performance of the texts, and that works tiring from time to time. Many of the pure instrumental parts however, sometimes jazzy and always very inspired, learned me more about the winter. I enjoyed the interplay of the musicians and easily forgot all discomfortable aspects of the winter through this emotional work. Speaking of Danielle Roger Palardy I can repeat the above introduction as she walked a similar route as Hetu. Again we are in the company of a core member of the Montréal “musique actuelle” scene since 1980. She Works as a self-taught percussionist, composer and improviser. Her newest release Pinta, Niña & Maria, has much to offer. It brings together three pieces written for three very different ensembles: GGRIL, Ensemble SuperMusique and ECM+. This way Roger provides us an excellent overview of her new music activities. In the first composition by Roger many dissonants are included, in a context of thick and noisy sounds in part 3, whereas in part 4 and 5 the music is more subtile but again staying close to noisy textures and tensions. The second work blends electronics with acoustical instruments, composed in an more traditional style with rock elements. The third piece starts like a piece of string-based chambermusic, but is mixed with percussive and other sounds of electronic and acoustical origin. With Rouge Ciel we are in the company of younger generation of musicians but not necessarily presented to more up to date music. Bryologie is the third effort by this avant rock group. A band led by Guido Del Fabbro (violin and electronics), and completed by Simon Lapointe (keyboards), Antonin Provost (guitars) and Nemo Venba (trumpet and drums). More then on their earlier records they profile themselves as a rockband. Continuing a line that had more representatives in the past of Ambiances Magnetiques. Now they are most close to Miriodor considering this aspect. One could think from this Rouge Ciel lives in the past, but that does no justice to them. Using forms that we know from the past they are not into a simple retro journey without any phantasy. Far from it. Their instrumental music is rock-based but intelligently combined with improvisation. Although they play with energy and drive, their compositions miss that little extra to make it really worthwhile. The true surprise this time comes from Isaiah Ceccarelli, a drummer, improviser, composer and singer from Montréal. His newest work, Bréviaire d’épuisements, is composed for two singers, two bass clarinets, viola da gamba and solo percussion. It is a collection of short pieces composed in a stripped down manner for texts by poet Marie Deschênes. In contrast with the other three CDs is one chooses for a much more sober approach. From a drummer one expects playing dominated by rhythm. But that is not the case here. In contrast Ceccarelli is more involved in drones and textures, that is illustrated impressively by the opening track. The first of four instrumental interludes that are mixed with seven vocal parts. Like the composition also the singing and playing is very disciplined, giving all the subtleties maximum strength. I don’t know what the poems are about, but the work almost has the effect on me of some kind of prayer. It is not for this association that I liked this one most.
Faque j’suis dans un party chez un ami quand j’lui dit: «Yo, c’est trop fly ton shuffle mix», pis là y’m’shoot «Yoooooo, c’pas à shuffle, c’est le nouvel album de Rouge Ciel». Pis la ma tête fait genre BBBRRRKK-SSSHHHHAAARR-RRRRRHHHH-SSSSHHKKKK, pis lui yé comme «yyyeeeaaaahhhh» parce qu’y m’a eu avec sa fake compil qui sonne comme si les best orchestres de film de série B et westerns italiens (pense Morricone qui front Goblin) composaient pour m’accompagner lors de mon vol de banque… sur la planète VAMPIRE!
This is the third disc from the great but under-recognized Quebec-based progressive band Rouge Ciel. After hearing their first two discs and seeing them live at Guelph, I was excited to receive their new one earlier this week. What I dig about this disc is that it is filled with passion and creativity, not any of that complexity for-its-own-sake stuff. This sounds as if it was recorded in the mid-seventies since they use those vintage keyboards like (Hammond?) organ, electric piano & synth. Mr. Del Fabbro plays some great wah-wah violin on Imbroglio, now there’s a sound we haven’t heard in a long while. Agitato has a most majestic sound with lovely cascading violin & piano swells. A few of the melodies used here have a warm, folky sort of resonance which is most charming. Just when you think you have this band figured out, they head for darker, more turbulent waters. Antimemoire has a great, churning quality that builds to a grand conclusion. Classic progressive music has a mythic quality like a soundtrack for an animated journey that we are swept away by. That’s what we find here. You got to love that central pounding drum on Bryologie, a strong blend of eastern and other progressive elements. There is no singing on this disc for those who need to know and it is delightful gem throughout, like a long lost treasure from the olden days (of the seventies). I would hope that Michel Levasseur from the Victo Fest would be wise enough to book this great quartet for a future fest. Both Rouge Ciel and Victo are from the very same province — Québec.
Troisième opus pour le groupe montréalais Rouge Ciel, qu’on pourrait presque qualifier de petit frère de Miriodor (sans porter insulte à l’un ou à l’autre). Bryologie poursuit dans la veine de Veuillez procéder: attitude plus avant-rock, avec passages d’improvisation libre, mais toujours cette écriture complexe d’avant-prog instrumental métissée de musique actuelle québécoise. Au pif de cette première écoute, je vais préférer Bryologie au précédent. À souligner: l’enlevante Tess qui, à trois minutes, ferait un excellent extrait radio (on peut rêver, non?), et l’épique Jubilation protozoaire. Le violon électrique et trituré de Guido Del Fabbro demeure un point focal du son du groupe.