An Aerie Skit

Two more of the items from the & Records label of Montréal which arrived here 20 January 2012. The record Ave W (&10) is credited to Tiari Kese, who apparently plays all the instruments — keyboards, French horn, electronics and samples, but it’s more likely to be all the work of Michel F Côté, who’s a Canadian electro-acoustic composer. A biography of alleged Bulgarian Tiari Kese can be found online, but with its Stockhausen, Beatles and Debord connections it’s all too good to be true and is probably just another internet hoax. The record does have one glorious track title, Dreams of Spartacus’s Spacecraft, but I mostly found it a rather turgid listen, directionless and shapeless digital layers of drone that amount to less and less the more they’re piled up. The instrument-playing has been processed and denormalised to an extreme degree, sucking the humanity out of everything until we’re left with echoed and orphaned horn tones floating aimlessly on a sea of samples, light distortion and glitch.

The City Wears a Furry Hat

Even less enjoyable is Solitary Pleasures (&records &15) by Fortner Anderson. It comprises several short 90-second vocal recits by the poet Anderson while accompanied by electro-acoustic noise played by a non-jazz trio of Alexandre St-Onge, Sam Shalabi, and Michel F Côté again, this time playing the drums. The release accompanies a book of poems published at the same time. We’ve encountered Fortner Anderson before in TSP15 where we noted the baffling Six Silk Purses, recordings of his spoken word exploits provided to sound artists to add their musical interpretations; in fact the same musicians were on that release too. Fortner’s short couplets are expressed here in diary form, each segment beginning with a calendar date announced in solemn tones, before proceeding with his free-form observations such as “I had forgotten the calculus of transcendence…”, alternating with mini-stories about life in the city and the characters he meets. It all feels oddly old-fashioned, like one of the forgotten Beats. Fortner attempts some jazzy syncopation in his delivery, even as the music drags itself along like a three-legged dog on a hot afternoon. Kenneth Patchen it ain’t.

I can’t remember a record by MF Côté that disappointed me. His projects always have something interesting to offer. Like this one, the third release by his ensemble Mecha Fixes Clocks that is made up of eleven players. Everything is composed by Côté. His music always moves in a mysterious way between rhythm, melody and harmony on the one side, and abstract sound constructions on the other side. As a result this is music that is difficult to grasp, but above all fascinating and intriguing from start to finish. To play with space and time are clearly objects of his composing. Hints of melody surface and disappear in the stream of sounds. It was recorded last year, live in a studio with an extended line-up: Côté, Freedman, Lauzier, Epps, Zubot, René, Thiessen, Martel, St-Onge, Falaise, Tétreault. It is this release by underestimated talent Côté that did it for me of these four releases.

Joane Hétu is one of veterans behind the Ambiances Magnétiques scene. She appears on many of the releases on this label as well with projects she carried out herself, of course with the help of others. Here with the newest example of it: Filature performed by Ensemble SuperMusique. It took Hétu five years to complete this work. It is an exponent of the Hétu’s projects in the field of music theatre, like Musique d’hiver and La Femme territoire. For this new release we miss the dance and video components. The cd documents only the music and the text. The music is in a serving role for the texts that are declamated and sung in French. The work deals with the experiences Hétu had in an earlier life as a weaver. But altogether it is difficult to make a picture of what this work is about. Only in pieces like Elle travaille, that offers a far echo of the RIO-rock Hétu produced as a member of Wondeur Brass and Justine, Filature becomes accessible for me.

Bozzini Quartet is a very special quartet. They have built up a varied and extensive repertoire. This time, with À chacun sa miniature the Bozzini Quartet makes a very generous gesture. On this double cd they present works from 31 young Canadian composers. Considering the amount of participating composers, almost a catalogue of what is going on in Canada. A bit too much also, because of the great number of new works. But a good opportunity to pick up what is going on in Canada. Their other new release Aberrare failed to fascinate me. This did not change after repeated listening, so this one was not meant for my ears. What kind of piece is it? Composer Martin Arnold is interested in continuation of music, but not along narrative lines. The music is not moving towards some goal, but it is more a process of unfolding, as the composer explains. In a way it is also dance music, what the composer concerns. But I felt it difficult to feel the same inspiration. Arnold is a Toronto-based composer and performer who had Frederic Rzewski, John Cage, Louis Andriessen, and others as his teachers.

Certains sont professionnels, d’autres sont amateurs: le GGRIL, basé à Rimouki, petite ville de l’est du Québec, dispose d’une dizaine de forces vives. Evan Parker, après Joëlle Léandre ou Jean Derome, est ce soir leur invité.

Tout commence avec Semis, improvisation collective, courbaturant une masse épaisse, sobrement perforée par le soprano puis le ténor du britannique. Le concert se poursuit avec Bouturage, dirigé par Evan Parker. Débutant en douceur, la conduction de Parker posera quelques sûres balises (motif rythmique s’accélérant, modulations, surgissement d’une clarinette intrépide, accents répétitifs) avant d’encourager un intense duo d’accordéons. La dernière pièce, dirigée par le violoniste Raphaël Arsenault, laissera le saxophoniste — ici au ténor — évoluer en soliste au sein d’une improvisation anxiogène, ombrageuse, inquiétante. Oui, une belle soirée pour tout le monde.

Sorti du GGRIL, Éric Normand emmène à la basse électrique un quintette dans lequel on trouve Jean Derome (saxophone alto, flûte), James Darling (violoncelle), Antoine Létourneau-Berger (vibraphone) et Michel F Côté (batterie, feedbacks).

Sur un fil est cet enregistrement sur lequel Derome et Darling osent sur le morceau-titre des pas de danse oblique dont l’alto finira par bousculer les discrétions avant de devenir un disque que se disputent moments de réflexion et morceaux d’emportements. Lorsque les compositions ne sont pas de Normand, un air de John Tchicai donne à l’association prétexte à s’entendre autrement: basse (au son travaillé et même subtil) et flûte déboîtant sur une marche qu’enrayera une suite d’actes de forfanterie individuelle qui ne parviendront pas à mettre à mal sa cohérence — dont le tuteur est le motif de choix qui gonfle Fields, Cows and Flowers.

Cinq musiciens Sur deux chaises enfin: jeux de micros, larsens et effets de manche, arrangent en torturés une pièce de chaos mémorable: l’alto en agitateur encore, qui saura cette fois découvrir dans la ligne claire un intérêt pour le changement changement. C’est en toute quiétude que se termine donc Sur un fil, vivifiant ouvrage électroacoustique.