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electroradio
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Reviewby Gary Flanagan in Nightwaves #6 (Canada), May 1, 2000 |1255|
“This is “sound as art” in the truest sense of the term.”
Promotional material for this album described it as "cinema for the ear", and that is a pretty accurate description. This is "sound as art" in the truest sense of the term. Grinding, whirs, buzzes, snaps and bangs are all brought together to create a suggestive sonic soundscape. Diane Labrosse (samples), Ikue Mori (electronic percussion) and Martin Tétreault (turntables) have created a work which achieves an almost organic quality from the most inorganic resources. if you are looking for something that is daring and goes nowhere near the mainstream, then this is for you. Most of the moods captured on this disc are stark and hollow, giving the listener a true taste of coldmetal machinemusic. One could almost subtitle this "Symposium for Junkyards". If you enjoy the true industrial approach (ie Einsturzende Neubauten), then you will undoubtedly love the challenge of this work. One suggestion: Île Bizarre must be heard on the best possible sound system that you can get access to. Sound enthusiasts will love turning track two (Ad Ventum Capere Grandes Machinae) up as loudly as their stereo systems will permit!
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Reviewby Nick Mott in Audion #42 (UK), March 1, 2000 |1277_01|
“… this is a very good one.”
A very weird mix of various sampled and looped craziness… mice squeak and transmute into rusted chair castors, with soundscapes that are so surreal that they took me to many realms; not least so that some of this sounds like out-takes from the Magic Roundabout. It does sound like lots and lots of other explorations in sound and noise as art, but this is a very good one. Some of this comes close to INA GRM releases that I’ve heard, which is no mean feat.
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Reviewby G C in Minimal #18 (Portugal), November 1, 1998 |1784| Desiludam-se os que encontraram em La face cachée des choses (1995) um dos melhores discos do ano. Mais, ainda, se o anterior Duo déconstructiviste (1994), com Michel F Côté, não os seduziu tanto. É que este now álbum da teclista-cantora das Justine (esse mesmo, o quarteto free-pop constituído só por mulheres) ainda é mais arrojado que os anteriores trabalhos, não sendo obra para digerir com a maior das facilidades. Sampler, percussões electrónicas e gira-discos são os instrumentos aqui usados para fazer uma música povoada de citações surrealistas, projecções futuristas e memórias (inultra) passadas…
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Critiqueby François Couture in Art Zéro #13 (France), August 1, 1998 |1079|
“Vous ne trouverez pas musique plus bruitiste que celle qui est gravée sur ce
disque.”
Vous ne trouverez pas musique plus bruitiste que celle qui est gravée sur ce disque, Île bizarre. Diane Labrosse, membre d’Ambiances magnétiques, échantillonne depuis des années et a participé aux formations Wondeur Brass et Justine, en plus de ses collaborations avec Michel F. Coté (Bruire, Duo déconstructiviste). Ikue Mori n’a plus besoin de présentation: ses percussions électroniques étonnent a chaque instant tant leur précision et leur diversité surprend. Martin Tétreault, autre membre d’Ambiances magnétiques, s’amuse depuis longtemps avec les tables tournantes. À la fin des années 80, il s’amusait a coller des morceaux de disques, technique également utilisée par Christian Marclay. Aujourd’hui, Tétreault est passé au delà du vinyle comme récupération d’un fond sonore. Ce qui l’intéresse, c’est la table tournante comme générateur de bruit. Amplifiée à fond, elle produit des geignements, des crissements, des hurlements. À bas le disque, le DJ plonge l’aiguille dans le moteur, la revêt d’un condom, etc. À ce point-ci, vous devriez comprendre que la musique de ce trio est bruitiste jusqu’à la moelle. Île bizarre présente onze pièces que l’on peut supposer être des improvisations. Onze films surréalistes. Ne pensez pas à Ground Zero. Ici, pas de charges sonores à décapiter l’auditeur car si l’intensité s’élève régulièrement, le tout demeure contrôlé. Belli machina ouvre la marche avec quelques décharges sonores, mais ou les atmosphères alternent et se compensent mutuellement. Diurna et nocturna insecta peint un tableau d’arrière-campagne ou les crépitements du vinyle se transforment en pépiements. Le jeu des textures et des nuances transporte l’auditeur tout au long de l’écoute. Un voyage au centre de l’abstrait qui séduit, malgré l’apparente aridité de l’équipement des explorateurs. Qui a besoin d’une note?
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Release Tour Mind…by Spike Taylor in Exclaim! (Canada), July 1, 1998 |1158_102|
“This is a found paradise of sound where the buzzing of bees is replaced with frying
wires and the sun shines angry and grey.”
On Île bizarre, Tétreauit is joined by Diane Labrosse (keyboards, sampler) and Ikue Mori (drum machines) to make hell of their technologies in a full-length search tor noise redemption. This is a found paradise of sound where the buzzing of bees is replaced with trying wires and the sun shines angry and grey. Each member contributes brilliance to the mood, a soundtrack to a boiler room chase scene. This is one of the most captivating listening hours I’ve spent in days and days of wandering from town to town.
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Reviewby Chris Yurkiw in Montreal Mirror (Québec), June 11, 1998 |1264| No man is an island--not even a bizarre one —so turntable torturer Martin Tétrault hooks up with compatriot Diane Labrosse and Japan’s Ikue Mori for this updated take on musique concrète. Labrosse sounds like she’s reconstructing the didgeridoo on her sampler, Mori evokes Africa with her "talking" electronic drums and Tétrault colours between the lines, playful, provocative and proving that those who get called musique actuelle are just as good at electroacoustics. 8/10 other texts in
electrocd.com Diane Labrosse, Ikue Mori, Martin Tétreault: Île bizarre: reviews |
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