Ipso Facto est un groupe formé de David Bussières (guitares), Chantal Bergeron (violon), Simon Dolan (contrebasse) et de Francis Roberge (percussion). Ils présentent leur premier album sur étiquette Monsieur Fauteux, m’entendez-vous?, l’entraînant et dynamique La spirale de l’escargot.

Magali Babin, c’est une «patenteuse», une vraie. Plus jeune, dans la cuisine de ses parents, elle ne devait pas être un cadeau, probablement prête à taper sur tout ce qui fait du bruit. Plusieurs années plus tard, elle ne démord pas et fait de la musique avec tout ce qui lui tombe sous la main. Dans Chemin de fer, elle utilise une multitude d’objets métalliques fabriqués, recyclés, réinventés; la très belle pochette de son disque nous l’indique clairement, d’ailleurs. Fait intéressant: sept des neuf pièces sont improvisées, proposant des œuvres très personnelles et sensibles. Ça démarre en grande avec Triturations, une paisible pièce qui semble nous glisser dans un costume de scaphandrier, mille pieds sous l’océan. Dire qu’en réalité, la musicienne ne fait que frotter des casseroles et autres trouvailles à côté d’un micro! Le tout est réalisé avec la joyeuse complicité de Mario Gauthier et ca paraît.

Nipping at the heels of the gripping and fugue-state-inducing eclecticism of the first No Type compilation, The Freest of Radicals, comes this incredible debut CD release from Montréal sound artist Magali Babin. Born in 1967, Babin combines linear yet sculptural metal-based sound pieces with a true flair for dynamism, abstraction and otherworldliness. Although Chemin de fer is the first appearance of material of this nature by her, she has apparently worked with soundscapes featuring the recording of metals for more than a decade now and, possibly as a result of this time-served honing of her skills, her utter control of the proceedings here is totally compelling. The constructions on this album were originally recorded for a radio show in Canada but shelved prematurely and, it would seem perhaps, unfairly. I have to admit I expected some element of coldness and isolation from this disc; but warmth, confusion, playfulness and apprehension all combine in Chemin de fer’s 50 minute journey and prove me wrong. At times, as on the opening Triturations and on E, the musical palette is of some vast, partly steam-driven and partly clockwork organism, respiring and shuffling at the limits of exhaustion; elsewhere, the album title is interpreted near-literally, as with the seemingly endless electrified rolling stock effect of L’entonnoir. These are impressive, intimate soundworks that cross the boundaries of acousmatic music, free improvisation, the pure sound of the gamelan, and early electronic composition methods, and yet retain a recognisable fingerprint that appears to be Babin’s alone. Let’s hope another decade is not allowed to elapse without more from this unique talent.

From: “JC JC” <james_39@h…>
Date: Fri May 10, 2002 4:12 pm
Subject: Magali Babin

I first became familiar with Magali Babin’s work when she performed in Baltimore, USA’s High Zero Festival of Experimental Improvised Music in 2000, and was immediately attracted to her work. Magali is very active in Montréal’s vibrant experimental music and sound art scene, and primarily works with amplified metal/objects and transducers.

Acoustic/amplified/contact mic’d metal materials and metallic found objects have had an interesting history in experimental music/sound art/electroacoustic music, ranging from, for example, Harry Bertoia’s “Sonambient” sound sculpture recordings, Xenakis’ “Orient-Occident,” and Einstürzende Neubauten, among numerous others.

So i was looking forward to her new CD, Chemin de fer, on No Type. I got it a couple of days ago, and it’s been living in my CD player since then. In the face of the aforementioned history, I have to say that Magali’s take, approach, and resultant sonorities and sounds from her chosen sounds and objects are utterly unique and new. She manages to disclose small, mostly quiet, magical, mysterious little universes of sound. Another thing that emerges from listening to this work after enjoying the beauty of the pieces is how literate and articulate Magali is with her chosen materials and tools — there is a very broad language of sound in these recordings that will reward careful listeners. Added bonuses include the piece Pluie de homards which was mixed with the piece “Rain” from the CD “Warm Coursing Blood” by Ian Nagoski, one of the more interesting people working in drone these days, and beautiful packaging. I have a strong feeling that this disc is going to be one of the few releases each year that really speaks to me, and I’m already hooked.

Le pianiste Pierre St-Jak lance son sixième opus intitulé Réponse d’Amérique. C’est le premier disque de la nouvelle série «Récréation» sur étiquette Monsieur Fauteux, m’entendez-vous?.