The Electroacoustic Music Store

Estrapade morceaux_de_machines

  • Total duration: 75:33
  • UCC 771028041329
  • SODEC

Beware, electronic music fundamentalists: morceaux_de_machines are back! Yeppers, like that, with no warning… And they are quite ready to spoil your party. Hey, what did you expect? That they would leave you alone with your tranquil ventilator music and your little cuddly rhythms of sorry regularity? That your music would cease asking you questions, that it would finally stay quiet? What a bore!

An advice to those who don’t subscribe to any musical chapel, to those for whom music is not a method of mass endoctrination, to those whose blood rate increases with pleasure when sonic tension rises, to those who take comfort in the noise of free machines, you have every reason to be happy! And for a fact…

As with every self-respecting improviser does, Érick d’Orion and A_dontigny do not only play on their own: sometimes, they invite colleagues on stage. This is partly the result of these impromptu meetings which will be heard on this new CD with four collaborations featuring well known (and well loved) noisicians: Martin Tétreault, Otomo Yoshihide and Diane Labrosse.

The five other pieces featured are monuments of bruitism which bring to mind a word from Vanier (here translated freely): “We will accept culture the day a work of art will make us come.” Well, that’s it, we’ve said it. This is going to scare the masses away; what can we do about it?

But what is an “estrapade”, you ask? The question should be: do you really want to know? Well, if you insist: it’s a French word for a rather cruel form of torture used in medieval times. As far as we know, the music of morceaux_de_machines is not, however, used as an instrument of torture but who knows… If No Type ever receives a royalty check from the US Army, we’ll know why.

Estrapade

morceaux_de_machines

A_dontigny, Érick d’Orion

IMNT 0413 / 2004

Some Recommended Items

In the Press

  • Chris Kennedy, Musicworks, no. 94, Wednesday, March 1, 2006
    morceaux_de_machines are unafraid to pull back and let moments of tangential beauty into their noisier explorations.
  • Vincent Bergeron, Critiques de disques, Saturday, February 4, 2006
    Le noise de morceaux_de_machines est violent, très saturé… mais aussi beau
  • Steffen B Pedersen, Geiger, Tuesday, December 13, 2005
  • Modisti, Thursday, November 10, 2005
  • Joël Pagier, ImproJazz, Tuesday, November 1, 2005
  • Erkki Luuk, Eesti Ekspress (Areen), Thursday, July 14, 2005
  • Hainey Kevin, Exclaim!, Monday, July 11, 2005
    … it never dulls, nor does it ever fail in delivering top-quality noise in fucking bucketfuls.
  • François Couture, All-Music Guide, Friday, July 8, 2005
    … deviant electroacoustic works… highly recommended noise art.
  • Fabien, Liability Webzine, Tuesday, July 5, 2005
    morceaux_de_machines bouscule, détruit, reconstruit, malaxe les sons avec une évidente volonté de créer une architecture peu commune.
  • Martin Mühl, The Gap, Friday, July 1, 2005
  • Vittore Baroni, Rumore, Friday, July 1, 2005
  • Von Falk, Somamag, Tuesday, June 28, 2005
    Estrapade ist definitiv eine intensive (anti-) musikalische Grenzerfahrung und zugleich eine dicke Empfehlung für alle Noise-Liebhaber.
  • Luc Bouquet, Soleil FM, Jazz Etc, Tuesday, June 21, 2005
    … l’improvisation de morceaux_de_machines passionne.
  • Alfredo Rastelli, Sands Zine, Friday, June 17, 2005
    Erano tempi che non sentivo un disco di free elettronica così compatto, incompromissorio e creativo.
  • Eugenio Maggi, Chain DLK, Friday, June 3, 2005
    … an interesting, often exhilarating work…
  • Laurent Diouf, Wreck This MeSS — Paris, Wednesday, June 1, 2005
    Dans la joie et la douleur, ces terroristes bruitistes ancre leur démarche en revendiquant une filiation avec la musique concrète…
  • ASB, De:Bug, Wednesday, June 1, 2005
  • Tom Sekowski, The WholeNote, no. 10:9, Wednesday, June 1, 2005
    I was warned — the music of Montréal duo morceaux_de_machines would be loud. What I wasn’t told was just how unbearably surprising it could be.
  • Avopolis, Wednesday, June 1, 2005
  • Rui Eduardo Paes, Paes, Wednesday, June 1, 2005
    Os dois músicos falam mesmo em “maximalismo” para descrever tais procedimentos, em clara oposição ao legado minimalista que hoje marca a frente digital.
  • Cracked, Wednesday, June 1, 2005
    From the frequency-daddling noise-pitches to the droning echoes and epic atmospheres, Estrapade features a lot of high class noise variety.
  • SVS, Rif Raf, Wednesday, June 1, 2005
  • Music Club, Wednesday, June 1, 2005
  • LD, Coda Magazine, Wednesday, June 1, 2005
  • DW, Paris Transatlantic, Wednesday, June 1, 2005
    … with Estrapade you can dance yourself silly while the earwax melts.
  • Pierre-Charles Offergeld, La Médiathèque, Wednesday, June 1, 2005
  • Dave Madden, Splendid E-Zine, Monday, May 30, 2005
    … somewhere between Anthony Braxton, Penderecki and Public Enemy.
  • Roald Baudoux, Les Cahiers de l’ACME, no. 221, Tuesday, March 1, 2005
    … évoque à la fois la coulée continue, le hachoir à viande et le broyeur de pierres.
  • Nicola Catalano, Rumore, Tuesday, March 1, 2005
    … un monolite impressionante per ferocia e complessità strutturale…
  • Henryk Palczewski, Informator “Ars” 2, Tuesday, March 1, 2005
  • Simone Bertuzzi, Digimag, no. 04, Tuesday, March 1, 2005
    Estrapade è un assalto.
  • Zookeeper Online, Wednesday, February 23, 2005
    … elevating the realm of avant noise at least 3 notches.
  • Stefano Isidoro Bianchi, Blow Up, no. 81, Tuesday, February 1, 2005
    … una collaborazione pressoché perfetta.
  • Julien Jaffré, Jade, no. 17, Tuesday, February 1, 2005
    … ce tsunami de sons, cette masse sonore brute se conjugue quelquefois avec la fragilité de processeurs électroniques.
  • François Nadon, Ici Montréal, Thursday, January 13, 2005
  • Frans de Waard, Vital, no. 454, Wednesday, December 22, 2004
    More = more seems to be their point.
  • Jan Willem Broek, De Subjectivisten, Wednesday, December 15, 2004

Dinamically Charged Pleasure

Chris Kennedy, Musicworks, no. 94, Wednesday, March 1, 2006

Dontigny and d’Orion have been working together since the ’9Os, when they founded the now defunct radio program Napalm Jazz on [Quebec City]’s CKIA. Theirs is a dynamically chargod improvisation, with a lot of space between the standard loud whiteouts and the quiet passages. Unlike many noise bands that keep their instruments burning in the red, morceaux_de_machines are unafraid to pull back and let moments of tangential beauty into their noisier explorations. Despite its early posturing, the threat of violence is never realized. Instead, the music’s energy is discovered through the passion of creative fire.

morceaux_de_machines are unafraid to pull back and let moments of tangential beauty into their noisier explorations.

Critique

Vincent Bergeron, Critiques de disques, Saturday, February 4, 2006

J’aime les musiciens ne se sentant pas obligés de se justifier avec un thèse de doctorat. Je préfère ceux ne pensant pas que l’art de la musique se limite à une série de connaissances acquises et de techniques maîtrisées. Je crois que l’accumulation des nuances, rendue à un certain point, tue l’excitation plutôt que de la justifier sans cesse davantage. Je suis convaincu que l’utilisation du «je» le plus personnel voire primitif extrait des sentiments impossibles à exprimer autrement.

Les morceaux_de_machines pratiquent bien cette approche autodidacte n’ayant nul besoin de longues descriptions techniques pour attirer l’attention. Parce que le résultat parle par lui-même. Maintenant, le duo formé de Érick d’Orion et A_dontigny peut se vanter dans sa promotion d’avoir terminé parmi les finalistes dans la catégorie «disque de l’année – musique actuelle, électroacoustique» aux prix Opus 2005 du Conseil québécois de la musique. L’album Trilogie d’ondes de Gilles Gobeil (empreintes DIGITALes) a finalement remporté ce prix.

Mais, pour ma part, je retiendrais surtout leur performance live très énergique. Certainement, sur disque, ce n’est pas tout à fait la même expérience, mais morceaux_de_machines conserve toute sa brutalité sans bornes, tout spécialement sur Fonçage de pieux et Trépanation, deux modèles à suivre, des épiques de bruit punitives qu’on peut qualifier à la limite de hip-hop et de techno, mais seulement à cause de l’utilisation de boucles sonores. La réalisation surprend, car elle s’adapte à l’équipement audio le plus ordinaire sans jamais flancher. Par expérience personnelle, ce n’est pas toujours évident de contrôler ce genre de sons en super aiguë et en super basse. La diversité des fréquences est remarquable, trop rare dans le petit monde du noise où les sons les plus limités sont trop souvent mis à l’honneur pour une douteuse question d’authenticité. Le noise de morceaux_de_machines est violent, très saturé et très souvent pas tellement nuancé, mais aussi beau et en quelque part composé même, jamais primitif pour être primitif. Des bruits naturels provenant de navires, d’animaux et de courants d’eau semblent avoir été greffés aux nombreux sons artificiels, mais sans qu’on puisse les identifier.

Diane Labrosse, Martin Tétreault et Otomo Yoshihide ne manquent pas de participer à quelques pièces, mais c’est l’approche jamais trop chargée et jamais trop vide du duo québécois qui prend le dessus à chaque occasion. Les collaborateurs viennent ajouter leur petite touche personnelle, souvent enfouie.

Personnellement, la deuxième moitié de cet album m’a un peu moins intéressé. Omlegging et Tromocrates sont également épiques comme pratiquement tout le matériel de ce long album de 75 minutes - passant plutôt rapidement dans notre tête étonnamment. Cependant, ils font dans le surplace comme des moteurs de véhicules inadaptés au climat québécois, inondés par la fonte des neiges comme en ce début de février 2006 (pas très beau merci).

La pièce titre possède une certaine qualité lyrique (Estrapade), mais encore là il ne faut s’attendre à rien d’autre qu’à la pire des horreurs. Par contre, Sélavy fait preuve, tout comme Fonçage de pieux et Trépanation d’une métamorphose constante s’avérant suffisamment installée on ne sait où au juste, mais quelque part. Et c’est bien la sensation d’être présent dans un environnement tangible qui rend Estrapade bien meilleur que ce qu’on attend d’un album noise. 7.5/10

Le noise de morceaux_de_machines est violent, très saturé… mais aussi beau

Anmeldelser

Steffen B Pedersen, Geiger, Tuesday, December 13, 2005

Gennem efterhånden en pæn række udgivelser fra fransk-canadiske morceaux_de_machines — duoen A_dontigny og Érick d’Orion, som skaber deres musik gennem en kombination af computere, turntables og specialbehandlede cd’er — fået et renommé som ”The B-Boys of musique concrète”. Nuvel, man kan diskutere, hvor meget musique concrète, der egentlig er over deres udtryk og arbejdsmetoder, ligesom mangen en hip hopper helt sikkert vil få sin burger galt i halsen, hvis han lægger ører til parrets improv noise-frembringelser. Men albummet Estrapade, der er opkaldt efter en middelalderlig torturmetode, er da bestemt en interessant lytteoplevelse, hvor pladespillerens rolle i duoens univers kun bliver forstærket ved tilstedeværelsen af Martin Tétreault og japanoise-legenden Otomo Yoshihide, der sågar har gjort en dyd ud af at ikke at putte skiver på pladetallerkenen!

Yoshihides udtryk har ofte en sælsom, zenbuddhistisk ro over sig, som det dog ikke er lykkedes ham at overføre til denne sammenhæng. Ikke forstået på den måde, at man kastes ud i infernalske støjorgier, for morceaux_de_machines’ musik er faktisk ganske raffineret. Men deres støjopfattelse er klart mere vestlig — centreret omkring interferens-forestillingen mere end idéen om støjen som et billede på tilværelsens enhed af statik og bevægelse. Således består de ni improvisationer, som tilsammen sniger sig op over 75 minutters spilletid, mere af bittesmå temaer, strømme og rytmefragmenter, der med grammofonen og diverse effektbokse som grundredskaber kaster sig rundt imellem hinanden i psykedeliske lydkaskader, der det ene øjeblik kan være voldsomme og katharsiske, det næste spindelsvævsfine og ligefrem smukke. Det hænder, at besætningen ligefrem tryller breakbeats frem af posen, der i passager synes at give de mange lag — som ofte paradoksalt nok arbejder ret perfekt sammen ved at stræbe i hver deres retning — én retning og ét formål, men ellers ligger albummets styrke netop i, at det skaber kaotiske enheder. Kaotiske enheder forstået på den måde, at de scratches, fejlstrømme, effekter og samples, hvert nummer består af, på én gang synes at køre hver deres uafhængige løb og alligevel arbejde sig hen mod ét fælles, naturligt ophør.

Specielt vellykkede eksempler på denne æstetik er dels kludetæppet Fonçage de pieux, der over 11 minutter lader det ene lag overdøve det andet i en smuk, kalejdoskopisk kakofoni, dels den endnu længere Trépanation, der starter som en collage af slingrende, tiltende vinyl for at ende i en stor, krads og alligevel fantastisk kulmination, der i lige dele er free jazz og noise. Men også den skingre, lavmælt hakkende Tromocrates og det anderledes tordnende, dystre titelnummer bør fremhæves som fine eksempler på, at selv ret harsk noise kan rumme subtile lydlige nuancer, og som helhed er albummet at betragte som vellykket, da det lykkes morceaux_de_machines og staben af gæstemusikere, der også inkluderer sampling-specialisten Diane Labrosse, at angribe deres egen egentlige ret stramme æstetik fra så mange skiftende vinkler, at man interesseret bliver hængende til den sidste resonans toner ud.

Tortur er Estrapade bestemt ikke, med mindre man da har en syg idé om, at musik skal være rigtige melodier spillet på rigtige instrumenter af rigtige musikere. Man har hørt bedre og mere interessante eksempler på, hvad man kan få ud af at kombinerere støj og improv — f.eks. netop hos Hr. Yoshihide — men morceaux_de_machines’ nye udspil beviser absolut, at også Canada kan producere noise af en stor både æstetisk og musikalsk relevans.

Review

Modisti, Thursday, November 10, 2005

Open collaborative concept allowing DJeeing to meet more abstract electronic noise. Rhythmic motives permeate the tracks and yet remain one possibility, alternating with harsh or subtler passages of digital sampling. Hyper-dense bruitism, improvisation and composition strike an interactive balance while the textures flow like lava rivers.

Critique

Joël Pagier, ImproJazz, Tuesday, November 1, 2005

Prantsuse müraimprov

Erkki Luuk, Eesti Ekspress (Areen), Thursday, July 14, 2005

Plaat kõlab, nagu oleks Grünbergi plaat trammi alla jäänud. Või nagu vanas vene romaanis, kus rotikolju trammirataste vahele kinni kiilus ja huvitavat häält tegi. Ruigava krigina sisemuses on aga aega ja ruumi – sealt näibki meieni kostvat analoogsüntide harmooniline klugin ja kõik need teised vale-Grünpa sulnid helid. Huvitav kombinatsioon, mis laseb müra pikalt nautida. Siis tuleb tagumise saatel veel üks mürakäik (Onanisme), mida sõõm tumedat ambient’i alguses ja lõpus maha jahutab. Lood on kompositsioonipõhised – kujutlege rütmita industrial’i ja lisage sellele kõikvõimalikke mürasid, kuni lugu (Placenta compressa) neid lõhkemiseni täis on. Ja siis kõik need muud müraasjad, mida on värskendav kuulata (eelkõige just oma toime, mitte ennekuulmatuse poolest). Mootorsaed, käiad ja freesid soovitatavalt väga väsinud kuulajale.

Review

Hainey Kevin, Exclaim!, Monday, July 11, 2005

The sophomore album from this Montréal noise improvisation duo (A_dontigny and Érick d’Orion) enlists the inimitable help of extremist sound artists Diane Labrosse, Otomo Yoshihide and Martin Tétreault to create a titanic excursion into various depths of noisy mayhem and intrigue. morceaux_de_machines use prepared CD’s, amplified turntables, samplers, live electronics and a plethora of effects to create intense layers of piercing and bass-heavy noise, occasionally mixing in elements of other genres, like techno, hip-hop and drum & bass (but never so much to sound diluted, or like a crossover act — these cats are definitely dedicated to the almighty noise factor). The results are all over the place, but never boring or awkward. The noisy techno stomp of Onanisme segues nicely into free-noise deconstruction on Placenta compressa, then takes an abrupt turn with the brief drum&bass one-off Triple fermentation. Estrapade is a long, expansive album, but it never dulls, nor does it ever fail in delivering top-quality noise in fucking bucketfuls.

… it never dulls, nor does it ever fail in delivering top-quality noise in fucking bucketfuls.

Review

François Couture, All-Music Guide, Friday, July 8, 2005

morceaux_de_machines’s follow-up to the thunderous debut liberum arbitrium is slightly more tempered. Not that A_dontigny (aka Aimé Dontigny) and Érick d’Orion are going soft, but since the first album they have considerably expanded their dynamic spectrum. The core of the music still consists of disembodied CD quotes and harsh electronics, but the pieces are less like brutal sound collages and more like deviant electroacoustic works (an impression emphasized by the fact that the group turned to maximalist electroacoustic composer Paul Dolden for the post-production and mastering stages). Tromocrates and Fonçage de pieux exemplify the new approach. Both of these long pieces explore quiet textures and extreme saturation in non-linear developments that sound surprisingly composed (for a group relying almost exclusively on improvisation). That being said, there is still a potent amount of harsh noise at play and fans of Merzbow, Smegma, Doc Wör Mirran and the likes will be delighted to feel (not “hear”, “feel”) waves of crashing sounds, escalating treated screams and various kinds of powerful sound matter pouring out of the speakers. Estrapade also features collaborations with two other duos: Parasites, the ongoing project of Diane Labrosse and Martin Tétreault, and the turntable duo of Tétreault and Japanese veteran Otomo Yoshihide. Dontigny and Labrosse had already recorded together (see the convincing live set Télépathie). The tracks with Parasites tend to use more closely defined textures layered in somewhat less intense, more pernicious assemblages, providing a counterpoint to the more vehement tracks. The 15-minute Trépanation provides one of the disc’s strongest moments, along with the aforementioned pieces and the intensely sculpted title piece. The only track with Yoshihide is less successful, mostly because individual inputs don’t fall as cleanly into place as elsewhere on the album. If you already enjoyed liberum arbitrium, don’t hesitate over this second effort. If you are new to the band, Estrapade may be a bit easier to get into (although if you are looking for the hardest-hitting punch, start with the previous album). In any case, this is highly recommended noise art.

… deviant electroacoustic works… highly recommended noise art.

Chronique

Fabien, Liability Webzine, Tuesday, July 5, 2005

morceaux_de_machines. En voilà un groupe qu’il est bien. En plus ils font des disques qui eux aussi sont biens. C’est quand même formidable. Voilà, on pourrait se contenter simplement de ça et vous pourriez me croire sur parole. Cela aurait eu l’avantage de me rendre service. Mais je sens que la curiosité vous chatouille et, Dieu me tripote, comme dirait l’autre, je vais tenter d’expliquer ce qu’est le projet morceaux_de_machines et vous dire pourquoi c’est tellement bien. Ce qui pour moi, soit dit en passant, est une torture de tous les instants. Enfin bon, je dois être masochiste puisque j’aime ça. D’ailleurs pour écouter morceaux_de_machines il faut sans doute avoir un petit côté maso. Ce projet initié par Érick d’Orion et A_dontigny est le type même de l’aventure musicale abrasive qui, sans faire aucune concession, se donne les moyens d’aller le plus loin possible dans l’extrémisme sonore. La musique du duo est faite essentiellement d’improvisations et lorgne vers un univers des plus noisy avec des escapades vers la musique concrète. Mais globalement c’est le bruitisme qui tient le haut du pavé.

Qui dit bruitisme ne dit pas fatalement chaos. morceaux_de_machines donne une structure et une direction à chacune de ses créations. On ne part ainsi jamais dans l’inconnu même si on s’enfonce rapidement dans des ambiances obscures. Epaulés par Otomo Yoshihide, Martin Tétreault et Diane Labrosse sur quatre titres (Placenta compressa, Trépanation, Omlegging et Sélavy) les deux improvisateurs se font les dignes successeurs d’une mouvance brutale et intense dont des formations comme Ground Zero (dont Otomo Yoshihide fait partie) ou Merzbow sont certainement des influences majeures. Dans cet apparent magma sonore se dégagent des formes complexes et intenses qui interpellent rapidement les sens tout en ne vous prenant jamais dans le bon sens du poil. morceaux_de_machines bouscule, détruit, reconstruit, malaxe les sons avec une évidente volonté de créer une architecture peu commune. Avec leurs influences post-industrielles, les deux hommes continuent sur leur lancée en poussant leur logique bruitiste jusqu’à ses extrêmes limites. Quand je vous disais que ce disque était bien…

morceaux_de_machines bouscule, détruit, reconstruit, malaxe les sons avec une évidente volonté de créer une architecture peu commune.

Kritik

Martin Mühl, The Gap, Friday, July 1, 2005

Recensione

Vittore Baroni, Rumore, Friday, July 1, 2005

Tonträger

Von Falk, Somamag, Tuesday, June 28, 2005

morceaux_de_machines machen Lärm, das aber beherrschen die „B-Boys der Musique Concréte” auf exzellente Art und Weise, so das die mittelalterliche Folter - methode auf welche der Titel des Albums sich bezieht hier gar nicht so unangenehm ausfällt.

Das Duo aus Kanada, das seine Musik als „Anti-Style” bezeichnet, verschmilzt auf seinem aktuellen Longplayer improvisierten Noise und Musique Concréte zu vielschichtigen elektroakustischen Soundtracks und rabiaten Klangbastarden. Bei den live aufgenommenene Tracks werden sie dabei von den Turntable-Spezialisten Otomo Yoshihide und Martin Tétreault sowie Diane Labrosse, einem Urgestein in Sachen Sampling und Improv-Noise, unterstützt.

Noise-Loops, Drones, Scratches, verzerrte Drum-Breaks, übersteuerte apokalyptische Sounds, digitales Brüllen, scharfe, beissende Frequenzen, Vocal-Fetzen - all das sind Bestandteile ihrer extremen Tracks, die sowohl Aggression und brutale Dynamik als auch sphärische Parts spannend vereinen, wobei es ihnen dabei hauptsächlich auch darum geht mit Hörgewohnheiten zu brechen und herkömmliche Muster und Strukturen über Bord zu werfen.

Estrapade ist definitiv eine intensive (anti-) musikalische Grenzerfahrung und zugleich eine dicke Empfehlung für alle Noise-Liebhaber.

Estrapade ist definitiv eine intensive (anti-) musikalische Grenzerfahrung und zugleich eine dicke Empfehlung für alle Noise-Liebhaber.

Le coin de l’inouï

Luc Bouquet, Soleil FM, Jazz Etc, Tuesday, June 21, 2005

L’estrapade est une forme de torture médiévale fort cruelle consistant à hisser le condamné en haut d’un mât et à le laisser retomber dans la mer ou à terre. morceaux_de_machines (A_dontigny & Érick d’Orion + Diane Labrosse, Martin Tétreault, Otomo Yoshihide) nous en donne ici un aperçu moderne et musical.

Parce que ne s’installant pas dans un climat obsessionnel mais au contraire en abordant plusieurs sources et thématiques (bruitisme, techno, jungle… ), l’improvisation de morceaux_de_machines passionne. Ici, on combine avec le temps, on étire l’impro jusqu’au quart d’heure, on agit en instrumentiste, avec sensibilité et rythme. On provoque l’auditeur, on le course, on l’invite (de force) à abandonner ses repères. J’aime cette musique pour la force qu’elle dégage, pour sa colère, son désir de secouer le cocotier car derrière le musique de Dontigny & d’Orion, il y a un véritable acte politique et humain.

«Tout commence avec le corps d’un enfant épouvanté par l’usine du village qui souffle vapeurs et fumée par ses naseaux, tel un instrument monstrueux et fabuleux. Son ventre grouille de bruits sourds et réguliers, longs et lents, noirs et inquiétants: des moteurs, des souffleries, des machines magiques, des zébrures de fer, des grondements d’acier, des palpitations de rouages et de longs jets de brumes fades ou saturées d’odeurs écœurantes». Ainsi parlait Michel Onfray de la fromagerie de son village dans Politique du rebelle (Biblio Essais). Entre répulsion et émerveillement, une définition collant magnifiquement avec la musique de notre duo québécois.

… l’improvisation de morceaux_de_machines passionne.

Una bestia di disco

Alfredo Rastelli, Sands Zine, Friday, June 17, 2005

I morceaux_de_machines del duo canadese composto da A_dontigny e Érick d’Orion non vogliono sentire ragioni. Danno bando alle ciance e cacciano dalle loro mani una bestia di disco, efferato e distruttivo. Erano tempi che non sentivo un disco di free elettronica così compatto, incompromissorio e creativo. Il cd è composto da tre registrazioni diverse, di cui due catturate dal vivo, smontate e poi rimontate in un diverso ordine, e in cui si avvalgono della collaborazione di tre grandi personaggi, molto presenti nella scena canadese: sono infatti della partita nientedimeno che Diane Labrosse, Martin Tétreault e Otomo Yoshihide. Un collettivo di turntablists a cui si deve aggiungere l’uso sfrenato di effetti, oggetti e percussioni elettroniche. A_dontigny ed Érick d’Orion superano in ferocia la loro creatura Napalm Jazz, di cui i morceaux_de_machines rappresentano la naturale evoluzione; i punti in comune ci sono ma in questo caso i musicisti azzerano le pause, stratificando la musica fino a trasformarla in puro catrame. Estrapade è fatto di una materia impenetrabile costruita con elementi di musica concreta, elettronica e industrial e cementata con collage sonori, in un pieno approccio avanguardista e dada. Dentro ci trovate tanto noise ed elettronica, flagellamenti industriali (Estrapade) e assurde drum machine alle prese con ritmi di dance sfrenata (Onanisme, Triple fermentation); come se non bastasse, i riferimenti al jazz (il finale di Tromocrates) o alle parti strettamente free, non sono casuali: rimanendo in tema infatti, in trepanation la massa elettronica affoga in un delirio di fiati stridenti e cieche scariche elettriche.

I morceaux_de_machines riempiono il cd fino all’orlo e credo che, se avessero voluto, avrebbero potuto continuare all’infinito, avendo l’impressione che la loro musica sia formata da una massa capace di auto-rigenerarsi e svilupparsi in piena autonoma. Estrapade è un frullatore globale che vuole sradicare dal loro contesto alcune delle musiche di riferimento del 900 (musica concreta, free jazz, rap, speed metal e techno) al fine di creare però un suono in opposizione alla cultura globale e al politically correct; spacca le orecchie ma sa regalare anche delle gran belle soddisfazioni.

Erano tempi che non sentivo un disco di free elettronica così compatto, incompromissorio e creativo.

Review

Eugenio Maggi, Chain DLK, Friday, June 3, 2005

With the demanding reputation of “B-Boys of musique concrète”, A_Dontigny (prepared cds, turntable, effects) and Érick d’Orion (computer, live electronics, effects) have concocted an interesting, often exhilarating work, helped in the live tracks by precious guests like Diane Labrosse (sampler) and turntablists Otomo Yoshihide and Martin Tétreault. They make noise which is often brutal and rabid, but are wise enough to make it more varied than a continuous feedback squeal. Onanisme is autistic techno, Triple fermentation is drum’n’bass which needs a serious dose of Ritalin. Bits and pieces of other people’s music are thrown in and trashed with a mocking smile AND an ethic, after all. Listen to the 14-minute tour-de-force of Trépanation, where crazed beats pave the way for a jazzy delirium, like a Peter Brotzmann record via effect pedals. If anybody remembers the AMK / Hands To / PBK disc on RRR, this sounds like its digital update.

… an interesting, often exhilarating work…

Critique

Laurent Diouf, Wreck This MeSS — Paris, Wednesday, June 1, 2005

Un album d’electronic-noise dans la grande tradition de la musique post-industrielle. Aux manettes, A_dontigny et Érick d’Orion qui utilisent des CDs préparés, des effets doublés de computers, percus et objets électroniques… Il en résulte un conglomérat sonore très brut, voire brutal… Crissements et sonorités métalliques zèbrent leurs compositions qui affichent une densité acoustique exceptionnelle. Et plus rarement des rythmiques (Triple fermentation). Ce pataquès noisy s’adresse en priorité à ceux qui ont les tympans déjà bien aguerris… Dans la joie et la douleur (Fonçage de pieux, Onanisme, Placenta compressa, etc.), ces terroristes bruitistes ancre leur démarche en revendiquant une filiation avec la musique concrète tout en invoquant Marcel Duchamp, Claude Lévi-Strauss et Kurt Vonnegut (auteur de science-fiction dans la lignée de Brown et Scheckley). En plus, ils ont reçu le soutien actif d’Otomo Yoshihide (grand maître du genre) sur un morceau au titre emblématique: Trépanation. Autres invités: Diane Labrosse (échantillonneur) et Martin Tétreault qui jongle, pour sa part, avec des tourne-disques amplifiés; rejoignant ainsi, en un sens la démarche de Saule et Philip Jeck. Ne pas dépasser la dose prescrite…

Dans la joie et la douleur, ces terroristes bruitistes ancre leur démarche en revendiquant une filiation avec la musique concrète…

Kritik

ASB, De:Bug, Wednesday, June 1, 2005

Improv-Noise und Musique Concrète könnten sogar die Tanzflächen rocken, wenn man sie irgendwo ließe. Das bieten zumindest einige Tracks dieses französischen Duos an, die sich hier mit den Turntablisten Otomo Yoshihide und Martin Tétreault sowie Diane Labrosse zusammen tun. Von Tanzmusik kann allerdings wirklich nicht die Rede sein, wohl aber von spannend gemachten digitalen Lärmattacken, die eben auch durchaus mal rhythmisch oder aber ambient sein dürfen. Klasse unakademisch! 3/5

Review

Tom Sekowski, The WholeNote, no. 10:9, Wednesday, June 1, 2005

I was warned — the music of Montréal duo morceaux_de_machines would be loud. What I wasn’t told was just how unbearably surprising it could be. The duo made up of long-time radio collaborators on Québec’s CKIA, Aimé Dontigny and Érick d’Orion, obviously enjoy their noise with a side of the twitchings. Ever-shifting landscapes permeate their music from beginning of the disc to its’ closing 75 minutes later. Turntables, prepared CDs, live electronics, computers, samplers, drum machines — it’s all here in its most primal glory.

Sampling queen Diane Labrosse appears on two tracks, as do tumtable artists Otomo Yoshihide and Martin Tétreault. I dont think the word noise does this duo proper justice. After all, what is defined as noise by one person is not necessarily noise to others. I found many of the pieces calming in their own bizarre way. The drones and high-pitched squeaks are in some strange way oddly appealing. Weird structure actually exists in this madness if you’re willing to listen. Feedback and ear-piercing sounds need not be your enemy. These can actually be your friends. The question remains, are you willing to take the first step towards cementing this relationship? If your answer is yes, then Estrapade [French word for a cruel form of torture used in medieval times] is waiting for your friendship now.

I was warned — the music of Montréal duo morceaux_de_machines would be loud. What I wasn’t told was just how unbearably surprising it could be.

Best of the Month

Avopolis, Wednesday, June 1, 2005

Critica

Rui Eduardo Paes, Paes, Wednesday, June 1, 2005

Os canadianos Aimé Dontigny (gira-discos) e Érick d’Orion (computador) tiveram antes um projecto com o mesmo nome do programa radiofónico que mantinham na CKIA, Napalm Jazz, e se o anterior título (liberum arbitrium) da fórmula morceaux_de_machines era mais comedido do que este Estrapade, a moldura das suas acções continuava a ser o “noise” improvisado, agora elevado à centésima potência com as colaborações, em três das faixas (as únicas registadas ao vivo), de Otomo Yoshihide, Martin Tétreault e Diane Labrosse. Mais do que alguma vez aconteceu, a teatralidade das situações musicais que constroem é uma estratégia assumida, tanto assim que a própria etiqueta responsável por esta edição, a No Type, fala no “théatre de la cruauté” de Antonin Artaud para apresentar o disco, dele dizendo que é “impermeável à falsa sentimentalidade da harmonia” e “ferozmente desconstrutivo”. Decididamente, as abordagens “onkyo” e “lower case” não fazem o pleno da electrónica actual. O que aqui encontramos tem a mesma entrega e o mesmo “drive” do John Coltrane de Interstellar Space, com contribuições tanto da electroacústica “culta” como do hip-hop e do death metal. Os dois músicos falam mesmo em “maximalismo” para descrever tais procedimentos, em clara oposição ao legado minimalista que hoje marca a frente digital.

Os dois músicos falam mesmo em “maximalismo” para descrever tais procedimentos, em clara oposição ao legado minimalista que hoje marca a frente digital.

Review

Cracked, Wednesday, June 1, 2005

Not at all an easy piece. Use headphones with caution. Estrapade makes you believe that there is more variety in noise than in pop music (or all harmony). The electronically produced noise ranges from wailing folklore singing to the bang and clang of a giant steel factory, from the microelectronics of neurons ticking within a small creature to being strapped to an 8-way highway overpass with heavy traffic. Not to mention the mingling noises of a handful of hobby DIY-fanatics meeting to build a small steel-structure in their basement. What you’ll learn is that there is more to frequency than just sound, that there is structure in chaos and that origins of sounds are of no interest. The lesson takes up 75 minutes, so lean back and enjoy.

Maybe it is the air in Canada. Or the vast territory of land all around. Or maybe it is just the people, the society as a whole and in parts and the overall way of living in the big empty country that makes so many interesting music-projects possible. Apart from the tradition of Neil Young there is a lot of music interesting music there. Abstract HipHop (Ghislain Poirier), great electronica (Vitamins For You), even better epic alternative music (with Constellation and friends just too many to mention) and some noise and avant-garde noise. I guess, a sentence like the above does injustice to almost every country by being a platitude with changing names, but there has been an increased influx of avant-noise and music from Canada (and post-hardcore instrumental records) into the Cracked headquarters lately, and since we don’t accept any as our own perceptions and since these two flows come together so neatly in Estrapade I found such a statement justified. In spite of all its obvious blandness.

Noise in itself is an interesting factor. In everyday life it is usually regarded as a nuisance, something to call the police for or to shout at your kids to stop the noise. In arts noise has become an established factor. For instance, I watched the movie One Hour Photo last week mainly for two reasons: 1) my wife wanted to see it. Which is usually reason enough to start watching with her, but most often movies on tv don’t keep my attention for long. 2) the atmospheric sounds in the background at all times. That movie was interesting in its colour-scope and pictures as well as in sound-aspects (the story itself is ruther dull, I mean, there is a lot of freaks out there and most of them are pathetic if you peel away their freaky surface. Which is true for the old straight guy in the gey suit behind the counter as well as for the dreadlocked techno-freak riding the subway). Sound in movies as sound in our everyday environment is usually disregarded or even discriminated against. Why all the longish foreplay in this review: because it was the labour of many artists to bring noise back into the light of attention with music lovers all around. Even more, to be able to call noise, even pure white noise “music” is an important progress. (Wait up for the first Merzbow-release to grace these pages in a few days ahead.) And those keep on still, though mostly unregarded and as underground as you can get.

From the frequency-daddling noise-pitches to the droning echoes and epic atmospheres, Estrapade features a lot of high class noise variety. Also the unfriendly variety of ear-splitting noise-waves or the even more uncomfortable high frequencies that can make you physically sick if you are so inclined. A_Dontigny and Erick d’Orion, long time collaborators and the two minds behind morceaux_de_machines, like their noise mixed and in differing styles, obviously. But they never get bland, superficial or obvious about it. And they like to add a little spice and humour here and there. On the track Onanisme (what a name, makes me think of the name of their radio program: Napalm Jazz – quite a funny for serious avantgardists) they take back the stomping industrial beats from time to time to introduce a siren or the sound of wind blowing and other noises closer to the human ear than laptop glitches. The inclusion of various co-collaborators like Otomo Yoshihide, Diane Labrosse and Martin Tétreault adds to the eclecticism of the mix, by adding turntables, scratching, sampling, and ever so on.

I could never do much with the term music concrete, except for some music standing in the room so loud and vast that the waves of sound form an almost concrete block to bang your head against. Especially in a live setting – as there are some live tracks and some studio tracks on here, you guess which is which – the experience can be very stimulating and exciting. The pathway is narrow though and a lot of times avantgard electronic noise turns into bland trickery or a circus act on the one side or to boredom galore on the other side. (Now ask which one of the two Hasswell belongs to?) The variety and dynamics of Estrapade makes the record stay on the golden path. Even those tracks that carry on for over ten minutes have enough offering to keep you interested – but people who like to listen to noise CDs are used to over-one-hour single tracks, I guess.

As morceaux_de_machines state themselves in their small but interesting innersleeve-manifesto, theirs is “anti-music” in an violent and art-terrorist way, which waves a languish hand at sampling’s and destructionist’s long tradition in art, but they well know that there actually is no such music as anti-music (the reasoning is hidden in the paragraphs above).

From the frequency-daddling noise-pitches to the droning echoes and epic atmospheres, Estrapade features a lot of high class noise variety.

Kritiek

SVS, Rif Raf, Wednesday, June 1, 2005

Recensione

Music Club, Wednesday, June 1, 2005

Lo scetticismo regnava nella mia mente al momento di ascoltare Estrapade (termine francese con il quale, nel medioevo, si indicava una particolare forma di tortura). Scetticismo non certo derivato dal fatto che la line up di morceaux_de_machines, composta da A_dontigny ed Érick d’Orion, fosse stata per l’occasione integrata da tre saggi del suono concreto, elettronico ed elettroacustico come Otomo Yoshihide, Martin Tétreault e Diane Labrosse, quanto dal timore che il lavoro fosse indirizzato verso l’esplorazione dell’universo microscopico, finendo così per appiattire conoscenze e competenze sulla ricerca del nulla…! E invece è stata graditissima sorpresa lo scoprire (attraverso l’ascolto delle nove tracce) che l’interazione tra le diverse menti pensanti ha portato alla realizzazione di un disco di noise improvvisato assolutamente di valore, con un approccio che ha molto più in comune (al di là di quello che è poi il risultato finale) con l’hip hop, che con le avanguardie sperimentali a cui si è soliti associare simili sonorità. morceaux_de_machines e compagni (i cui interventi sono tutti stati catturati dal vivo) si sono prodigati nella creazione di forme radicali (seppur mai estreme) di rumore elettronico modulato e modulare, spesso industriale, contaminato anche da derive ritmiche drum’n’bass e da inflessioni IDM ruvide, frutto di una notevole creatività e con un costante mutare di forme musicali e di scenari esplorati, oltre che suggestionati. Molto buono.

Critique

LD, Coda Magazine, Wednesday, June 1, 2005

Review

DW, Paris Transatlantic, Wednesday, June 1, 2005

Noise as a musical genre is no longer the bastard child of Industrial, and while many practitioners and aficionados still subscribe to its no-pain-no-gain aesthetic, there's a whole basketful of young cats out there who just wanna have fun. Think Lasse Marhaug, Maja Ratkje – and morceaux_de_machines, the Québécois duo of A_dontigny and Érick D'Orion, aided and abetted here on four tracks by Diane Labrosse, Martin Tétreault and the ubiquitous Otomo Yoshihide (if a genie ever grants you three wishes you could really piss him off by using one of them to ask for the complete Otomo discography… the other two would be for a house big enough to store it and enough time to listen to it all). Adding a healthy dose of 150plus BPM drum'n'bass'n'gabba is a great idea – you'll be surprised how likeable even the most vicious sonic knife attacks can be if there's a mighty backbeat crunching along in the background (the wise old man of Noise, Masami Akita, knows this only too well), but there's more to these nine tracks than merciless hardcore. Dontigny and D'Orion have a huge arsenal of sonic weaponry at their disposal, from mangled early Neubaten-style metal, vertiginous turntablism (not so much plunderphonics as chunderphonics), scything drones and all manner of digital clutter. The ultimate goal might still be to end up with ears full of blood, but with Estrapade you can dance yourself silly while the earwax melts. Let's hope these chaps hook up with those Norwegians soon for some transatlantic aural tag wrestling.

… with Estrapade you can dance yourself silly while the earwax melts.

Sélections du mois de juin 2005

Pierre-Charles Offergeld, La Médiathèque, Wednesday, June 1, 2005

Joyeux atelier «rhythmic noise indus» (étiquette beaucoup trop limitatrice). Ces Canadiens se veulent maximalistes, ils dévergondent une foule d'objets, électroniques ou non, pour élaborer d'invraisemblables ballets mécaniques, bruyants et pleins de vie. Ils sont accompagnés sur cet album par Martin Tétreault ou Otomo Yoshihide (voir ces deux champions du tourne-disque détourné) et par Diane Labrosse (échantillonneuse déconstructiviste que l'on trouvera en collection jazz sous son nom et dans une quantité de projets musicaux excentriques).

Review

Dave Madden, Splendid E-Zine, Monday, May 30, 2005

Other than the self-imposed isolation of a studio, the lack of artistic compromise and proverbial spitting in the face of mainstream success, there’s something that many experimental musicians lack that discourages even the most stalwart fans: a personality. Said individuals often seem academic, overly serious and just plain bland — something that, for better or worse, seeps into their music.

Fortunately, people like Érick d’Orion (aka Érick d’Orion) and Aimé Dontigny (aka A_dontigny), the duo behind morceaux_de_machines, exist in this world to counter stereotypes of what the so-called avant-garde should do. Their stint under the name Napalm Jazz, both as a radio program on Québec’s CKIA FM and a band of the same name, gives them a different approach to the improvisation/composition realm, one somewhere between Anthony Braxton, Penderecki and Public Enemy. Some listeners dub them the “B-Boys of musique concrète”. Very cool.

Their set incorporates a fused conglomeration of elements, something that never backs down from a challenge, even if it means bending two poles to meet — a mix that sits comfortably atop a history book while swilling cheap merlot from a paper cup. m_d_m propel Fonçage de pieux with hyperactive scratching, serious cutting that will leave a mark, while Tinkerbell melodies drift in and out over a pulsing, clicking rhythm and processed Rite of Spring-style symphonic punctuation. Everything works itself into a calculated frenzy; d’Orion and Dontigny are careful to keep their mix tight and pristine until they bust into an atmospheric film of sine waves, fragmented and carefully placed breakbeats, nearly exploding again but happy to perch under a cloud of low-frequency feedback. Next up, Onanisme is sure to raise eyebrows in the concert hall and while waking up the professor’s bored children, who’ll exclaim, “This is fun!” It employs an irresistible Neu/Crass quasi-disco beat, founded on a distorted handclap/bass drum pattern and manic, twirling basslines, that weaves and grows, keeping time but having its way with the meter. Guests Diane Labrosse (of Justine and a flock of other acts) and Martin Tétreault (visual artist/turntablist, currently concerned with the sound of the (turntable) motor) add their contributions throughout the disc, notably on Sélavy, where needles meet concrete, machine hum faces envelope filters and Loverboy’s Hot Blooded joins a nuclear aftermath for a picnic in a fallout shelter. Otomo Yoshihide joins m_d_m for Omlegging, bringing his signature “no-record turntable” fidgets, scrapes to trade off with Tétreault and the boys.

Of course, this genre owes a great deal to the pioneers of the Twentieth Century, from Dadaists to Constructivists to even Classicists. d’Orion and Dontigny are well aware of this foundation, but after they tutor you for your final in Semiotics 502, they’ll drag you along for a night of beers and mischief.

… somewhere between Anthony Braxton, Penderecki and Public Enemy.

Critique

Roald Baudoux, Les Cahiers de l’ACME, no. 221, Tuesday, March 1, 2005

À côté d’empreintes DIGITALes, la société DIFFUSION i MéDIA propose aussi No Type, soit un label (ou une étiquette comme on dit au Québec) dédié aux musiques électroniques, improvisées et bruitistes. Fondé en 1998 en tant que site web sur lequel étaient proposés gratuitement des albums en mp3, No Type est passé à l’édition discographique en 2002.

À la lecture du communiqué de presse envoyé par No Type, j’ai noté que le compositeur Paul Dolden y était crédité pour le mastering d’Estrapade. «Quel intérêt de mentionner cela?» me suis-je dit… À l’écoute de la musique, j’ai compris qu’il ne s’agissait pas simplement d’un argument d’autorité mais qu’il existe un point commun entre la musique de morceaux_de_machines et celle du compositeur de L’ivresse de la vitesse. Dans ies deux cas, on se trouve dans une musique de masse, d’épaisseur. Mais les similitudes s’arrêtent là. Pour la suite, une petite définition du mot «estrapade» s’impose: il s’agit d’une forme de torture consistant à pendre un individu par une extrémité tout en attachant à l’extrémité opposée une lourde pierre. Souffrance et dégâts garantis. C’est un peu le programme proposé à nos oreilles sur ce disque résolument «bruiteux», volontairement épais et strident. Dans le genre, ceux qui se définissent (avec un culot certain) comme les «mauvais garçons de la musique concrète» livrent ici un bon travail. Cela coule comme un flux qui évoque à la fois la coulée continue, le hachoir à viande et le broyeur de pierres. Inutile de chercher du silence ici, il s’est réfugié dans les brefs intervalles séparant les neuf morceaux du disque. Quant au mot harmonique, on ne le trouve qu’associé qu’à son compagnon d’infamie appelé distorsion. Les âmes sensibles s’abstiendront donc, les autres l’apprécieront à la manière dont on jauge un bon coup de lime: rugueux et abrasif (boules Quiès vendues séparément).

… évoque à la fois la coulée continue, le hachoir à viande et le broyeur de pierres.

Recensione

Nicola Catalano, Rumore, Tuesday, March 1, 2005

Non fa prigionieri il noise massimalista dei canadesi Aimé Dontigny e Érick d’Orion in arte morceaux_de_machines. Dapprima titolari della trasmissione radiofonica Napalm Jazz, su CKIA-FM, presto mutatasi in vero e proprio progetto musicale, i due arrivano al traguardo del secondo album, la cui ragione sociale si ispira ad una tortura in uso in epoca medioevale, nuovamente un intemperante stillicidio di rumore bianco e ritmi da fonderia, invero impietoso ma per fortuna non fine a se stesso. Saccheggiando a piene mani e disinvoltamente l’immenso patrimonio di disparati generi musicali, free jazz, musica concreta, speed metal e persino la trendy techno che tanto hanno in uggia (Onanisme e Triple fermentation sono costruiti proprio su cadenze elettroniche ultra-velocizzate), i nostri erigono un monolite impressionante per ferocia e complessità strutturale, in questo aiutati da ospiti del calibro di Otomo Yoshihide, Martin Tétreault e Diane Labrosse.

… un monolite impressionante per ferocia e complessità strutturale…

Fisicita’ e derive neoconcrete

Simone Bertuzzi, Digimag, no. 04, Tuesday, March 1, 2005

L’approccio è neoconcretista. […] Non è immediato il passaggio da questo lavoro a Estrapade, ad opera del duo morceaux_de_machines, formato da Érick d’Orion e Aimé Dontigny (titolare della label canadese No Type, per la quale esce), e nemmeno piacevole, forse. Estrapade è un termine francese che indica una tipologia di tortura medievale, questo già basterebbe a delinearne il suono, ma sarebbe troppo banale. Estrapade è un assalto. Fonçage de pieux tradisce, gioca un trabocchetto iniziale con un frammento celestiale per poi crescere e stabilizzarsi agonizzante; Onanisme e Triple fermentation invece non lasciano scampo, si impongono percussive fin da principio; Tromocrates è un tunnel di shortwaves, grugnisce e vomita noise a ripetizione sfociando in free jazz. Ma c’è molto di più, c’è la presenza di Diane Labrosse, Otomo Yoshihide e Martin Tétreault a fomentare le ruote d’acciaio, e si sente: Placenta compressa è più complicata, un corpo privo di direzione; Omlegging è scratch, e Yoshihide fa da padrone impossessandosi di tutta la ricerca di turntablism possibile, è indefinibile il suono e l’efficacia a cui si approda nella seconda parte, di certo il brano migliore.

Il vertice del disco è però Trépanation, la più lunga, sfiora i 15 minuti, che assimila noise e jazz mozzato con inedito senso ritmico, completando l’intento generale e sfiorando contemporaneamente altre derive, inusuali ma maledettamente riuscite. Concludendo, nulla di più, se non ribadire la complessità di elementi strutturali comuni con messe in scena distanti anni luce, tanti personaggi e altrettante sfumature, due ottimi lavori.

Estrapade è un assalto.

Review

Zookeeper Online, Wednesday, February 23, 2005

“Digital noise” self proclaimed “musique concrete”, looped and layered electroacoustics, most notably masterfully manipulated amplified turntables of Otomo Yoshihide and Martin Tétreault. Incredible stuff, elevating the realm of avant noise at least 3 notches.

  1. Scratching under trippy chimes starts this, followed by crunchy sounds, rumbles, tone bursts, you name it, builds intensity then chills [approx] 7 min in, reassembles, awesome
  2. Digital madness, looped and rhythmic in a cool way
  3. Looped vague rhythm, doomy creepy noises build and become lush
  4. Harsh layers immediately, jungly drums give this an electro flare
  5. Industrial noise feel at outset, electro noise drums appear benieath, grows solemn and chill ~6 min then the layers build again, long piece
  6. Starts chill, sparse, builds ~3 min heavy noise layers, quiets ~9 min
  7. Noisey from outset, layered droney higher pitched, builds intensity, mellows at end
  8. Looped creepiness, intense
  9. Collage feel, more avante, layers of interesting sounds

… elevating the realm of avant noise at least 3 notches.

Recensione

Stefano Isidoro Bianchi, Blow Up, no. 81, Tuesday, February 1, 2005

I canadesi Aimé Dontigny e Érick d’Orion sono i morceaux_de_machines. Il primo maneggia il giradischi, il secondo il computer (cioè l’ordinateur, come dicono i francesi e così gli sciovinisti canadesi francofoni, travisando come d’abitudine concetto e forma). Questo è il loro secondo album e rispetto al predecessore (liberum arbitrium) allenta la presa del rumorismo tendendo a farsi carne. E che carne! Una bistecca da cinque dita, una fiorentina pepata dalla collaborazione di Diane Labrosse, Otomo Yoshihide e Martin Tétreault, che con loro danno vita e anima a un coacervo strappabudella di scratch e schriiitch, perturbazioni acustiche organizzate con violenza e senza tregua ma anche con tanta creatività ribelle, con fantasia ‘industriale’, con profondo senso del ritmo (persino della ‘canzone’ hip hop) e neanche un’ombra di gigioneria. Sarà forse l’interazione tra i due elementi a dare risultati così rigorosi e massicci, laddove il computer di d’Orion limita la tendenza allo straripamento dell’altro proponendogli un calcolo a monte, una ragione ragionante e ragionata che sta a priori e che neanche volendo i due riescono ad evitare: una collaborazione pressoché perfetta.

Temevo invece per il duetto di Tétreault e Yoshihide, che fanno tutto da soli con due giradischi. Essendo autorità riconosciute dello strumento, si sarebbero potuti permettere di giocare al gatto & topo organizzandosi il festino con ammenicoli e pezzetti d’oggettistica varia attaccati alle puntine, ai microfonini, agli ampli-ini: a partire da presupposti simili abbiamo sentito spesso polpettoni indigeribili. Stavolta invece i due si concentrano solo sugli strumenti, li prendono e strapazzano con frugale brutalità e ne tirano fuori una girandola calorifera d’improvvisazioni bercianti, autentiche, prepotentemente ‘volgari’ e rigorosamente ‘punk’. Pare impossibile accreditare a due semplici giradischi queste evoluzioni e strutture, tanti sono forza e impatto ‘rock’ dei singoli episodi. Rispetto ai morceaux_de_machines la coppia punta proprio allo stomaco piuttosto che alla testa: a tratti parrebbe di sentire un redivivo Hendrix, altrove i Melvins polverizzati in una nebbia sulfurea. Quando si dice ‘uso creativo dello strumento’.

… una collaborazione pressoché perfetta.

Critique

Julien Jaffré, Jade, no. 17, Tuesday, February 1, 2005

morceaux_de_machines, projet piloté par Érick d’Orion et A_dontigny, repart en guerre contre le conformisme et les clichés attenants aux sphères des musiques improvisées en proposant un cross-over, une auberge espagnole ou hip-hop, électroacoustique et électronique se tiennent la main. L’estrapade était un supplice qui consistait à faire tomber une personne au bout d’une corde, soit dans l’eau, soit à quelques pieds du sol. En un sens, cette machine nous livre des fractions de styles, portant notre curiosité à quelques pieds au-dessus du vide, sans jamais réellement nous laisser prendre pied dans un style en particulier. Ces segments de genre s’agrègent et se décomposent au bon gré de leur auteur. Free-jazz, musique improvisée, death metal, techno. morceaux_de_machines refuse les partis pris et compose une musique spontanée et libre, en synthétisant son goût musical. Ça en offusquera certains, laissera les autres dans l’expectative à moins que ça ne stimule la curiosité de ces derniers. Le second propos du disque est de ne pas faire allégeance au minimalisme, mais de traduire dans une forme bruyante, «hideuse», la masse sonore accumulée. Mathias Richard, dans son essai sur les musiques bruyantes en avait déjà fait l’éloge. L’idée défendue est qu’il est des musiques qui ne peuvent subir d’être écoutées en salon, mais qui réclament la violence des «infrabass» et des vibrations. Ils réutilisent d’ailleurs un néologisme, le terme Maximalisme; sans parler de bruits blancs, on peut au moins reprendre leur terme monuments de bruitisme, même si ce tsunami de sons, cette masse sonore brute se conjugue quelquefois avec la fragilité de processeurs électroniques. Ces 2 garçons ont su, comme rares d’entre eux conserver la spontanéité de l’adolescence et s’émerveiller de ces aspects qui rapprochent des marges de l’audible. Cet album permet également la confrontation et l’échange puisque morceaux_de_machine a invité 3 collaborateurs de luxe, en la présence de 2 «turntablistes» de renoms, Martin Tétreault et Otomo Yoshihide ainsi que de l’artiste sonore Diane Labrosse. Estrapade confond l’énergie du désespoir à la folle embellie de la jeunesse. Exigeant et captivant.

… ce tsunami de sons, cette masse sonore brute se conjugue quelquefois avec la fragilité de processeurs électroniques.

Brèves musique

François Nadon, Ici Montréal, Thursday, January 13, 2005

morceaux_de_machines, composé d’Érick d’Orion et d’A_dontigny, nous reviennent avec Estrapade, leur nouvel album qu’ils présenteront en concert ce dimanche à la salle O Patro Vys. Pour leur second opus, ils ont invité les vétérans Diane Labrosse et Martin Tétreault ainsi que le maitre des extrêmes, le Japonais Otomo Yoshihide. La musique de morceaux_de_machines est toujours aussi bruyante, mais grâce au travail de Paul Dolden à la post-production, nous y retrouvons cette fois-ci une touche de raffinement. Le titre de l’album renvoie à un supplice du Moyen Âge où un malheureux était attaché dans une position inconfortable à une potence. Selon A_dontigny, cela traduit bien l’esprit musical de l’album. Ça promet.

Review

Frans de Waard, Vital, no. 454, Wednesday, December 22, 2004

If I am not mistaken (and usually I am) this might be the third CD by Canada’s noise duo morceaux_de_machines, aka Erick d’Orion and A_dontigny, but here they are guested by Diane Labrosse (with whom Dontigny already made a CD), Otomo Yoshihide and Martin Tétreault. They play on some of the live tracks on this album. morceaux_de_machines are, I think, best described as a live-improv musique concrete noise outfit. They use records, cds, electronics and computers and cook up a steamy mix of cut ‘n paste sounds, taking apart the exisiting sounds (of vinyl, of cds) and putting them in this huge blender called mixing board and effects and rather go for the louder and nastier elements, than say, something smooth and soft. It was hard to tell that there were live tracks on this CD (I read the liner notes usually afterwards), but in hindsight, I think the studio pieces are a bit concetrated and denser and the live pieces something more loosely structured. There is a certain Merzbow influence to be detected here, but than of the Batztoutai with Memorial Gadgets period (late 80s Merzbow). Overall a nice work, but at over seventy-five minutes also a lenghty experience. More = more seems to be their point. Nice one anyway.

The same Otomo Yoshihide and the same Martin Tétreault toured Europe in the springtime 2003, playing fifteen concerts in sixteen days, under which one I saw at Extrapool. Of course every concert was recorded and the results are thematically organised for release. 1. Grrr contains the noise aspects of the concerts, and to be released are 2. Tok with the more fragmented stuff and 3. Ahhh with the more smoother moments. Both Yoshihide and Tétreault play turntable and objects. As indicated this is indeed a disc full (very full at seventy four minutes) of noise. Yet, I am altogether not very sure if this was a good idea. In a concert situation the two go in one concert from loud to fragmented to soft and back again. That makes the concert by Tétreault and Yoshihide a breathtaking experience. But when they cut out, say all the noise elements of all concerts and isolate them on one CD, it’s a different thing. It may appeal to noise-fans alike, but for me (not always a noise fan) it was simply too much. I rather had one CD documentating all the various aspects of duo, the best moments of every concert.

More = more seems to be their point.

Caleidoscoop

Jan Willem Broek, De Subjectivisten, Wednesday, December 15, 2004

www.actuellecd.com en www.electrocd.com herbergen beide Canadese labels voor nieuwe muziek, jazz, musique concrète, elektro-akoestische muziek, noise en experimentele muziek. De eerste omvat onder meer DAME met sublabel Ambiances Magnétiques, Victo, Squint Fucker Press en Spool. De tweede labels als empreintes DIGITALes en No Type. No Type is het grappigste label, want daarop nemen ze de genregrenzen niet zo nauw en kan je elk van bovenstaande stijlen krijgen gemengd met pop, rock, techno of hiphop. Aimé Dontigny ofwel A_dontigny en Érick d’Orion bemoeien zich graag met andere artiesten, maar vomen samen de noiseband morceaux_de_machines. Op Estrapade staat noise, opgebouwd uit groovende lagen elektro-akoestische muziek. Het klinkt moddervet en vervaarlijk. Ik eet niet vaak vlees, maar bij dit kolossale geluid klinkt het bakken van kilo’s gehakt perfect. Industrieel vormgeven en martelen met dood vlees. Ze hebben hulp uit goede huize, namelijk de draaitafel buitenbeentjes Martin Tétreault en Otomo Yoshihide. U bent gewaarschuwd (indien de hoes al niet afdoende was).

De Canadees Martin Tétreault en de Japanner Otomo Yoshihide (ex-Ground Zero) hebben allebei in ontelbare projecten gezeten en hebben niets en niemand meer wat te bewijzen. Getuige 1. Grrr hebben ze misschien alleen nog wat aan de duivel te bewijzen. In 2003 zijn ze samen met hun draaitafels op tournee gegaan. Lange, slopende draaidagen, waarbij het publiek dat van een flinke pot noise houdt de vingers kon blijven aflikken. Acht live-opnames zijn vastgelegd op dit eerste deel van de live-trilogie. De lawaaierige improvisaties zijn meer dan indrukwekkend. Het piept, schuurt, kraakt, scratcht en blaast; het tweekoppige, kakofonische monster lijkt te spelen met vuur onder de hielen. Zeker met het volume hoog is het een groots en adembenemend hoorspel. Bewondering en prettig afgrijzen wisselen elkaar af. Als mensen nu tegen mij zeggen dat dit geen muziek is heb ik daar begrip voor. Hoewel? Deel 3, 3. Ahhh (te verschijnen in 2005), klinkt ook veelbelovend.

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