C’est un deuxième album pour cette formation, le Fred Frith Guitar Quartet, qui, à l’instar des 4 guitaristes de l’Apocalyspo bar, rassemble quatre éminents membres de la chose guitaristique: René Lussier, Mark Stewart et Nick Didkowsky entourent ici le leader. Les pieces q’on y entend ont été enregistrées en spectacle lors d’une tournée, mais curieusement, on n’y sent pas du tout le direct. On y passe de solliloques cérébraux à des clins d’œil plein d’humour, d’explorations sonores méditatives à des sonorités agressives; la guitare se donne ici une personnalité multiple imitant le gong, les cloches, la cornemuse même. Les cordes crissent, cIaques, dialoguent, se heurent et se complètent tour à tour. Les quatre musiciens et compositeurs (contrairement au de précédent, Ayaya Moses, toujours sur Ambiances magnétiques, aucune pièce n’émane d’un compositeur externe ici) semblent s’amuser ferme (!) en passant du country au ragtime, pour ensuite sauter dans une veine métal et se retrouver par suite au benu milieu d’un soIo hyperactif de René Lussier. Ce disque a résolument une gueule d’atmosphéres. Et j’insiste sur le pluriel. Maniaco-dépressifs s’abstenir. 3,5/5

Derome’s duo album with Joane Hétu is also suffused with playful elements, especially Jonquille. In which a list of single words is recited to charming rhythmic effect. Mostly however the duo explores abstract improv. Hétu’s wordless vocals (and occasional,alto sax) rising expressively against Derome’s alto sax and numerous small wind instruments. Use of the latter lends the improvising a refreshing anti-virtuosic feel, where technical polish is abandoned for a more rough and ready celebration of unusual sound creation. L’étrier typifies the physical thrill of extreme sounds in extraordinary juxtapositions. Fans of Phil Minton and Doger Turner’s duo will welcome this equally adventurous Canadian pair with wide open minds.

Like Castor et Compagnie, her debut trom 1995, Joane Hétu’s second solo album, Mets ta langue, presents a variety ot stylistic activity. Once again Derome, Tanguay and Diane Labrosse are on hand to supply solid instrumental and vocal support. And this time Ambiances Magnétiques have included English translations to Hétu’s lyrics, some of which explore earthy eroticism with a pinch ot whimsy: “I love offering you my breasts like two juicy sweet melons that only wet your lips and stain your sweater,” Hétu sings on the folk-like L’eau du puits. The three part Beauté recalls Rock In Opposition style avantism with room for acerbic improvising, while Mes odeurs préférées, highlights Hétu’s vocal flexibility as she slides nonchalantly between throaty abstracton and conventional song. An attractive album full of unexpected turns and vibrant performances that make light work of the structural complexity.

When it comes to genre bending, Québec’s Jean Derome and his Dangereux Zhoms are in the top flight, making all those tricky manoeuvres between modern Jazz free Jazz avant-rock and Improv with enviable aplomb. Mind you, this six piece does comprise some of the finest in Canadian New Music: alongside the leader/composer are Pierre Cartier, Guillaume Dostaler, René Lussier, Pierre Tanguay and Tom Walsh. After Navré, 1995’s impressive studio release, Torticolis showcases the group in concert, confirming their polystylistic subtlety and dexterity. The title track has it all: imaginative improvising around scattered themes, memorable solos (Derome’s impassioned alto, Dostaler’s crisp pianism, Lussier’s rock-driven guitar), plus a delightfully playful rhythm section.Zuripari successfully combines swinging neo-fusion with fragmnentary Improv and theatrical vocalising and Rubigen opens with a bizarre duet for electronics and daxophone, developing into tunky polyrhythmic jazz. Challenging music performed with wit, warmth and authority.

Taking a massive swan dive off of the proverbial “experimental diving board” this short sound compilation disregards anything conventional. Ranging from a few seconds to a few minutes, everything from French accented babbling to everyday environmental sounds are on this 99 track undertaking, producing a bit of mayhem and a lot of sheer eccentricity. While different from most releases, Ding Dong Deluxe is sometimes a bit too disconnected, lacking a resilient, full bodied fluidity due to the variety of artists exposed. Or perhaps it’s Ding Dong’s determinedness to keep things unconventional, irrational and high strung that propels me to play it repeatedly!