La boutique électroacoustique

Artistes morceaux_de_machines

La fin de l’émission Napalm Jazz à CKIA, en 2000 (qui provoqua également un long hiatus pour le groupe du même nom) n’a pas pour autant découragé les membres du groupe, qui continuèrent, et multiplièrent leurs collaborations entre eux, et avec de plus en plus d’autres musiciens. Mais le duo infernal d’A_dontigny et Érick d’Orion, ce noyau dur que ses protagonistes se plaisent à éclater pour notre plus grand bonheur sonore, subsiste: il s’appelle maintenant morceaux_de_machines.

Si le médium n’est plus la radio, il n’en demeure pas moins que A_dontigny et d’Orion ont gardé intact le côté immédiat et sans concession de leur démarche des premières années. Improvisateurs aguerris, ils savent amener l’auditeur consentant dans une aventure sonore qui les laissera pantois plus d’une fois. Mais si ce dynamisme et cette tension nous semble quasiment théâtraux, c’est qu’il s’agirait d’une sorte de théâtre de la cruauté, imperméable aux fausses sentimentalités de l’harmonie et férocement déconstructeur des systèmes déifiants tel celui de Bach.

Ne s’agit-il pas que de bruit? Non, il y a bien plus dans ces trames sonores éxubérantes et vivifiantes. Bien plus que le superficiel affront que le volume élevé de leurs compositions fait à la politesse des musiques trop aimables ou trop modestes. Si nos acrobates machinistes font un tel tapage, c’est qu’ils ont une conscience toute aiguë du risque de l’acrobatie. Ce faisant, ils en viennent à une musique vivante, hautement personnelle et fort profonde.

morceaux_de_machines

Québec

  • Compositeur
  • Interprète

Membres de l’ensemble

Sur le web

morceaux_de_machines, A_dontigny, Érick d’Orion, photo: James Schidlowsky, jeudi 25 novembre 2004

Parutions principales

No Type / IMNT 0413 / 2004
No Type / IMNT 0204 / 2002

Apparitions

Artistes divers
Mental Monkey / MMR 004 / 2003
Artistes divers
No Type / IMNT 0201/02 / 2002

Compléments

Subverseco / SUB 022 / 2002
  • Épuisé

Publications web

Artistes divers
No Type (web) / NT 050 / 2004
  • Disponible
No Type: Annexe / NTA 015 / 2003
  • Disponible
No Type / IMNT 0204x / 2002
  • Disponible
No Type (web) / NT 048 / 2001
  • Disponible

La presse en parle

  • Steffen B Pedersen, Geiger, 13 décembre 2005
  • Alexander Varty, The Georgia Straight, 20 octobre 2005
    … the Montréal-born idiom known as musique actuelle really is capable of embracing almost everything from the minimalist gestures of Babin and Hétu to the ear-scorching aural firestorms of Dontigny and d’Orion.
  • Hainey Kevin, Exclaim!, 11 juillet 2005
    … it never dulls, nor does it ever fail in delivering top-quality noise in fucking bucketfuls.
  • François Couture, All-Music Guide, 8 juillet 2005
    … deviant electroacoustic works… highly recommended noise art.
  • Fabien, Liability Webzine, 5 juillet 2005
    morceaux_de_machines bouscule, détruit, reconstruit, malaxe les sons avec une évidente volonté de créer une architecture peu commune.
  • Martin Mühl, The Gap, 1 juillet 2005
  • Von Falk, Somamag, 28 juin 2005
    Estrapade ist definitiv eine intensive (anti-) musikalische Grenzerfahrung und zugleich eine dicke Empfehlung für alle Noise-Liebhaber.
  • Alfredo Rastelli, Sands Zine, 17 juin 2005
    Erano tempi che non sentivo un disco di free elettronica così compatto, incompromissorio e creativo.
  • Eugenio Maggi, Chain DLK, 3 juin 2005
    … an interesting, often exhilarating work…
  • Christian Meyer, Choices, 1 juin 2005
  • ASB, De:Bug, 1 juin 2005
  • Tom Sekowski, The WholeNote, no 10:9, 1 juin 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, 1 juin 2005
  • Rui Eduardo Paes, Paes, 1 juin 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, 1 juin 2005
    From the frequency-daddling noise-pitches to the droning echoes and epic atmospheres, Estrapade features a lot of high class noise variety.
  • Dave Madden, Splendid E-Zine, 30 mai 2005
    … somewhere between Anthony Braxton, Penderecki and Public Enemy.
  • Roald Baudoux, Les Cahiers de l’ACME, no 221, 1 mars 2005
    … évoque à la fois la coulée continue, le hachoir à viande et le broyeur de pierres.
  • Nicola Catalano, Rumore, 1 mars 2005
    … un monolite impressionante per ferocia e complessità strutturale…
  • Henryk Palczewski, Informator “Ars” 2, 1 mars 2005
  • Simone Bertuzzi, Digimag, no 04, 1 mars 2005
    Estrapade è un assalto.
  • Zookeeper Online, 23 février 2005
    … elevating the realm of avant noise at least 3 notches.
  • Stefano Isidoro Bianchi, Blow Up, no 81, 1 février 2005
    … una collaborazione pressoché perfetta.
  • Julien Jaffré, Jade, no 17, 1 février 2005
    … ce tsunami de sons, cette masse sonore brute se conjugue quelquefois avec la fragilité de processeurs électroniques.
  • François Nadon, Ici Montréal, 13 janvier 2005
  • Frans de Waard, Vital, no 454, 22 décembre 2004
    More = more seems to be their point.
  • Jan Willem Broek, De Subjectivisten, 15 décembre 2004
  • François Gariépy, Voir, 13 mai 2004
    Bruit. Musique. Musique faite de bruit.
  • Yves Leclerc, Le Journal de Québec, 7 mai 2004
  • Tobias C van Veen, Dusted Magazine, 1 juin 2003
    No Type presented a label showcase that enraptured the crowd, sucking them into a vortex of noise and improv electronic performances.
  • Ingvar Loco Nordin, Sonoloco Record Reviews, 25 novembre 2002
    morceaux_de_machines is a virtual dream machine, injecting the listener with such a wild array of visions that peyote and mescaline becomes futile accessories.
  • Julien Jaffré, Jade, no 8, 6 novembre 2002
    … morceaux_de_machines tisse des atmosphères tendues, catharsis numérique de processeurs furibonds et de lignes de programmation effrénées.
  • Nicola Catalano, Blow Up, no 52, 1 septembre 2002
    … un infernale impasto impro-rumorista di ferocia inaudita.
  • George Zahora, Splendid E-Zine, 25 juillet 2002
    … they rip sounds apart at an almost genetic level, scrunching them and tearing them and twisting them and hacking at them with the ravenous relish of sonic serial killers.
  • François Couture, All-Music Guide, 25 juillet 2002
    liberum arbitrium is a class-A production… A serious contender for best noise album in 2002, highly recommended.
  • Brian Lavelle, Vital, 13 juin 2002
    There is dripping sweat in this music; there is a refreshing ferocity and brutal dynamism in abundance. It seems even at times that the ghost of Coltrane pervades the proceedings.
  • Jeremy Keens, Ampersand Etcetera, no 2002_7, 20 mai 2002
    morceaux_de_machines create some of the hardest ambient-noise I’ve heard recently… a surprising and satisfying combination of electro-noise with subtler elements weaving through. Intriguing.

Anmeldelser

Steffen B Pedersen, Geiger, 13 décembre 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.

Sonic Voyageurs

Alexander Varty, The Georgia Straight, 20 octobre 2005

Montréal is just a five-hour flight away, but the cultural capital of Francophone Canada can sometimes seem as remote as Antarctica. West Coast residents know the city as the home of relaxed liquor laws, good restaurants, and great delis, but we’re rarely exposed to the music that’s made there—and that’s almost entirely because most of it, whether pop, rock, or contemporary classical, is not sung in English.

North America’s largest French-speaking city is home to a thriving music industry and a club scene that we can only envy, but connecting with them seems difficult, thanks to the barrier of language. It’s ironic, then, that one of Montréal’s lesser-known contributions to the world of sound might end up being Vancouver’s entrée to Quebec’s musical life. Musique actuelle—a hybrid style that emerged in Montréal during the mid-1980s—is a largely instrumental form, so unilingual Vancouverites need not be scared off by incomprehensible texts. And although the idiom is so all-embracing that it’s hard to define, it’s animated by the kind of exploratory spirit that’s drives Vancouver groups like Talking Pictures and the Hard Rubber Orchestra. So it shouldn’t be that difficult for B.C. ears to appreciate Montréal’s sonic explorers, and we’ll get a chance to do just that this week, thanks to the Vancouver New Music Society’s Interférence: Statique X Statique festival.

Although the event, which runs at the Scotiabank Dance Centre until Saturday (October 22), features non-Francophone artists such as the U.K.’s Fred Frith and Janek Schaeffer, most of the performers hail from Quebec, and many of them, like Diane Labrosse, are 20-year veterans of the musique actuelle scene. Nonetheless, the otherwise charmingly articulate keyboardist still finds it difficult to explain what it is, exactly, that her chosen style includes—and that, it seems, is not only a linguistic issue.

“It’s a hard thing to do, describing a music that’s so broad,” Labrosse says, on the line from her Montréal home. “Of course at first there was progressive rock, and then improv came along, and then came the idea of putting together different styles of music. Some musicians began to draw on the roots of jazz, and also using more traditional or folkloric stuff, and then putting all of this together to make a new hybrid of music, which we called musique actuelle. We even find these different direct references within the same piece.”

The style’s name, like the music itself, contains a wealth of inferences and possibilities. Its sounds are “actuelle” because they’re real music made by real musicians, as opposed to machine-made, bottom-line-driven pop, but also because they reflect the kaleidoscopic reality of today’s media environment. The argument Labrosse makes is that few people confine their listening to just one genre, so why should musicians suffer self- imposed limitations on what they play?

Her own career reflects this wide-open attitude. She’s written scores for dance, penned twisted avant-pop tunes, worked extensively with sample-based music, and performed with a global array of free improvisers. And in her Thursday-night concert at the Dance Centre, she’ll move a step or two toward abstract sound, in the company of multimedia artist Jean-Pierre Gauthier.

“Jean-Pierre is more known in the visual arts,” Labrosse notes. “He started out as a sculptor, a visual artist, and then he started to make some sound sculptures. This is where we got involved together quite a few years ago, maybe in 1998 or 2000 or whatever. We did a project where he was working with rubber tubes and compressors and bird whistles, things of that nature, so it was a noisy kind of culture. That started him doing shows, or doing performances; before that he was more of a sound installer, working in galleries and things like that. But he’s always done very fine work, juxtaposing visual and audio stuff.”

Labrosse reveals that she doesn’t yet know what Gauthier will be bringing to their Interférence show. “He told me that it’s very small, and that it’s something that he’s made, and that it varies from one performance to another.”

With that in mind, she’s readying herself for a performance that will be improvised from start to finish, as will several of the other bookings that Vancouver New Music artistic director Giorgio Magnanensi has arranged for his festival. Following Labrosse on Thursday will be the cross-country quartet of Pierre Tanguay, Bernard Falaise, Dylan van der Schyff, and Ron Samworth, a group she describes as well worth hearing.

“It’s a double-duo sort of thing: two drummers that work in a similar fashion, and two guitarists that also work in a similar fashion,” she explains. “But everybody’s very different and has a real personality. I saw this band in Montréal, and it was quite a nice concert.”

Friday night (October 21) features performances by sound artist Magali Babin and saxophonist Joane Hétu, followed by Klaxon Gueule, a trio that includes guitarist Falaise, percussionist Michel F Côté, and pianist Alexandre St-Onge. Like Labrosse’s collaboration with Gauthier, both of these ensembles patrol the grey area between sound sculpture and more conventional forms of improvisation, a zone that increasingly draws practitioners of musique actuelle.

“You start with finding new sounds on your guitar or your bass or your drums,” Labrosse notes. “And you move from there to adding effects, and then to [computer-based] processing, or even to building your own instruments.”

Fittingly, then, Interférence’s musique actuelle survey will conclude on Saturday with Morceaux_de_Machines, an abrasive and intense collaboration between sound designers Aimé Dontigny and Érick d’Orion that has earned comparisons to noise innovators Einstürzende Neubauten and Otomo Yoshihide.

It seems that the Montréal-born idiom known as musique actuelle really is capable of embracing almost everything from the minimalist gestures of Babin and Hétu to the ear-scorching aural firestorms of Dontigny and d’Orion. Close observers of the Vancouver scene will note that our own creative musicians are capable of a very similar range of styles; perhaps the gulf between East and West, between Francophone and Anglophone, is narrowing at last.

… the Montréal-born idiom known as musique actuelle really is capable of embracing almost everything from the minimalist gestures of Babin and Hétu to the ear-scorching aural firestorms of Dontigny and d’Orion.

Review

Hainey Kevin, Exclaim!, 11 juillet 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, 8 juillet 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, 5 juillet 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, 1 juillet 2005

Tonträger

Von Falk, Somamag, 28 juin 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.

Una bestia di disco

Alfredo Rastelli, Sands Zine, 17 juin 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, 3 juin 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…

Heiliger Krach

Christian Meyer, Choices, 1 juin 2005

Kritik

ASB, De:Bug, 1 juin 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, 1 juin 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, 1 juin 2005

Critica

Rui Eduardo Paes, Paes, 1 juin 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, 1 juin 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.

Review

Dave Madden, Splendid E-Zine, 30 mai 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, 1 mars 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, 1 mars 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, 1 mars 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, 23 février 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, 1 février 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, 1 février 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, 13 janvier 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, 22 décembre 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, 15 décembre 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.

morceaux_de_machines à Victoriaville

François Gariépy, Voir, 13 mai 2004

Être invité à assister à une répétition en privé de morceaux_de_machines ne se refuse pas. Le duo formé d’Aimé Dontigny et d’Érick d’Orion, réputé pour clapoter une noize électronique improvisée partout dans le monde, sera de la première soirée du Festival international de musique actuelle de Victoriaville la semaine prochaine. L’heure est donc au peaufinage. Surtout que la démarche semble tellement compliquée pour certains néophytes qu’il devient formidable de pouvoir questionner en direct les bidouilleurs à chacune de leurs interactions avec le surprenant lot de machines devant eux, toutes branchées les unes aux autres. À quel genre de performance auront droit les spectateurs qui assisteront au concert de jeudi? «On a prévu 55 minutes d’improvisation musicale avec canevas, soutenue par les projections visuelles de Boris Firquet et Éric Gagnon, qui sont à mon avis les meilleurs VJ au monde…» annonce Érick d’Orion, qui ne déteste pas feindre de venir de la constellation d’Orion.

Bruit. Musique. Musique faite de bruit. Assemblage sonore qui ne revendique à peu près pas de statut musical. Difficile de s’amouracher facilement de morceaux_de_machines, tant le résultat prend davantage de sens en spectacle. Pour bien comprendre la dynamique de travail: Érick donne un spectacle en jammant sur un ordinateur portable superpuissant équipé des logiciels Traktor et Audiomulch, alors qu’Aimé mélange des sons à partir de disques de sons et de bruits qu’il a lui-même gravés, pour ensuite les mélanger à la source sur une double platine laser. «Cela me donne l’impression de presque jouer d’un instrument!» rigole Aimé, qui ne voit aucun mal à ce que l’on s’échange gratuitement sa musique via Internet. Et de rajouter: «Si jamais on me harcèle juridiquement pour utilisation d’un sampling de Fernand Gignac par exemple, je m’en fous! J’irai alors piger dans une chanson de Jean-Pierre Ferland et ainsi de suite…»

Bruit. Musique. Musique faite de bruit.

La musique actuelle à son meilleur au 21e FIMAV

Yves Leclerc, Le Journal de Québec, 7 mai 2004

«Le Festival international de musique actuelle de Victoriaville, avec ses 24 spectacles, ne représente finalement, qu’un tout petit échantillonnage de ce qui se fait dans ce domaine.» Michel Levasseur, directeur général et artistique du Festival international de musique actuelle de Victoriaville (FIMAV), était de passage dans la Vieille Capitale, hier, à l’occasion de la 21e édition de cet événement, qui se déroulera du 20 au 24 mai.

Il a fait remarquer, au cours d’une rencontre de presse, que la musique actuelle était en constante évolution et que les jeunes artistes poussaient maintenant dans le dos des vétérans. «Il y a, depuis cinq ans, au Québec, une véritable éclosion», a-t’il lancé, faisant référence aux petites étiquettes de disques indépendantes, à La Sala Rossa, salle de spectacle de Montréal et aux nombreux nouveaux artistes qui émergent. «La scène est d’une telle richesse que nous avons fait trois ensembles de Montréal, l’an dernier, et les musiciens ne se connaissaient même pas», a-t’il lancé, expliquant qu’il recevait plus de 500 propositions par année pour son festival. «Il y a beaucoup d’artistes que je ne connais pas. C’est un work-in-progress constant et c’est parfois difficile à suivre», a-t-il reconnu.

morceaux_de_machines

Habituellement, Michel Levasseur n’assiste jamais aux répétitions d’artistes avant les présentations de spectacles. Plusieurs concerts présentés en première mondiale sont souvent montés à Victoriaville quelques jours même avant le spectacle. «J’aime être surpris et c’est ce qui arrive la majorité du temps», a-til expliqué, faisant une petite exception pour une présentation d’un court extrait du spectacle de la formation morceaux_de_machines de la Vieille Capitale. Le quatuor sons et images, composé de Boris Firquet, Éric Gagnon, Érick d’Orion et Aimé Dontigny, se produira le 20 mai, à minuit 15, au cégep de Victoriaville. «Lorsqu’on a mis sur pied cette formation, il y a quelques années, on s’imaginait à la blague, jouer à l’occasion du FIMAV, a lancé Érick d’Orion. On a de la difficulté à y croire et on ne dort pas vraiment beaucoup, en ce moment», a ajouté Aimé Dontigny, précisant qu’il avait bien hâte de découvrir l’envers du décor et côtoyer les grosses pointures de la musique actuelle.

Navigating Noise & Nausea

Tobias C van Veen, Dusted Magazine, 1 juin 2003

[…] Speaking of the No Type-ers… After what has been some public critique of Mutek, even on this list, No Type presented a label showcase at the Studio yesterday that enraptured the crowd, sucking them into a vortex of noise and improv electronic performances. […] No Type held attention despite the soundsystem’s relatively quiet range, with Samiland travelling a wealth of minimalist and dub territories, from sparse and deep broken beats to ambience, leading into the madness that was to follow: two sets of collaborative & improvised performances featuring A_Dontigny, first with the precise workings of veteran improvisational artist Diane Labrosse — on what appeared to be a theraemin device, at times; this performance was intricate, yet harsh in its metallic clamouring of sound-events. Then came morceaux_de_machines who, after an enthusiastic shout-out from Aimé, did not disappoint with his collaboration: vitriolic improvised noise from strange devices, high-pitched and jagged waves, from this real beast of a man, getting down and into it — morceaux grabbed the crowd and spun them round degree by degree. To end was Vancouver’s Coin Gutter, the enigmatic duo of Graeme and Emma carving out one of their more delicate and restrained sets, and, although improvised, moving through a taste of their sound, from experimental electroacoustic to noise, field recordings, media samples, and dark soundscapes. […]

No Type presented a label showcase that enraptured the crowd, sucking them into a vortex of noise and improv electronic performances.

Review

Ingvar Loco Nordin, Sonoloco Record Reviews, 25 novembre 2002

These laptop goblins make sure nothing is really sure anymore, as they bring the fuzzy principles of quantum mechanics and string theory into the world of binary sonics, played backwards in time, it seems, to the beat of sprawling chronometer meltdowns, clocks and spiders crawling away across cracks in the cement, time bent in on itself, curving ever deeper into spirit and matter, ever closer to the core of the NOW, as the minute, minuscule slices of time with their minute – but densely packed – fragments of lives are mangled through a wormhole in space-time with a Gargantuan might that distorts everything recognizable and well-known into pointillist approximations of an echo of the solid, bohemian safety of A Prairie Home Companion… individual remains of human lingual morphemes floating up into conscience in flaky dandruff residue – and I’m talking about music, don’t you forget, music right above the surface of dirty blue jeans and shimmering Macintosh interfaces, out of frantic, warm circuits in a mystery machine right out of The Hitchhiker’s Guide to the Galaxy – but DON’T PANIC!!!

The Quebec City radio show Napalm Jazz on CKIA–FM back in the mid 1990s constitutes the beginnings of the duo work of Aimé Dontigny and Érick d’Orion. The concept of the show was a wild mix of avant-garde, hip-hop, free jazz, electronics, found sounds and musics, which lays down the direction of the subversive workings of these guys up until this today, obviously providing enough creative force to keep them staggering down this wildman path!

The packaging is something extra here. It is made like regular empreintes DIGITALes covers, with a contraption of fold-out, hard, high-quality paper, but the art is overflowing and really compelling here, with demonic drawings by cartoonist Guy Boutin and wonderful water colors by Sophie Dowse. The whole impression of this package is one of bursting, overflowing, overpowering creativity. Flow with it or bend out of the way and hide, until it sweeps by!

In track 2 I actually find a more overarching, modal structure, in a bubbling frenzy which the mind glues together into a bead, a line, a melody of sorts, if only from a distance, as fractions of voices add a human touch, and the static of telephone lines through minus 40 Lapland wastelands wheeze and crackle through the human predicament with needy messages for a hungry ear beyond the weather…

There is nowhere to hide from this army of lightning rods inside your head, emerging from the core of Self, cutting away at your stray thoughts like a battalion of paper shredders in an office high-rise. Piano bar melodies are smeared all over the walls, as something gets back at something for something. We slide up against the back wall, easing sideways past the most awesome of goings-on, as the fish jump in frenzied electrocution in their center room aquarium, seconds before impact, as the avenger comes flying in, bent on avenging the 2nd, 3rd and 4th world, as he recognizes “the disgusting thing that causes desolation standing in a holy place” [Daniel 12:11 & Matthew 24:15], and Armageddon is on…

Track 3 brings hallucinatory voices into a woman’s warmth and shelter (Twas in another lifetime, one of toil and blood, when blackness was a virtue and the road was full of mud, I came in from the wilderness, a creature void of form; ‘Come in,’ she said, ‘I’ll give you shelter from the storm’ [Bob Dylan]) as skin peels descend like soot-flakes from an arson epidemic all across the parking lot as you run and keep on running, away, away, away…

I get the idea that these sounds may be what alien civilizations on forlorn worlds out of thinkable reach may one day find as the electromagnetic remains of our moment in time on Earth, the distorted transmissions from a died-down culture, a faded-away species, soar past their receivers scanning their cold skies for traces of spiritual spurs down the galaxy clusters and beyond…

morceaux_de_machines is a virtual dream machine, injecting the listener with such a wild array of visions that peyote and mescaline becomes futile accessories. Aimé Dontigny and Érick d’Orion have found a modern, high-tech backdoor into age-old shaman rites and magic otherworldly experiences – which goes to show that each time in history has it’s on way of boring into the layers of consciousness, towards pre-intellectual domains of bliss and wonder. When genuine and authentic medicine men of contemporeana (for example lap top wizards) take on this feat as seriously as morceaux_de_machines, the means are there, installed, up and running, for anyone with a clear ear to utilize – and I do, with the pleasure of a whooopeee mind rider!

morceaux_de_machines is a virtual dream machine, injecting the listener with such a wild array of visions that peyote and mescaline becomes futile accessories.

Critique

Julien Jaffré, Jade, no 8, 6 novembre 2002

Comment ne pas s’intéresser à deux jeunes artistes dont le premier groupe avait eu la pertinence de se baptiser Napalm Jazz, (également émission de radio), échos lointains des Naked City côtoyant les assauts digitaux de Merzbow. morceaux_de_machines se fait un malin plaisir à brouiller les pistes, à tel point qu’on ne sait vraiment plus si ils ajoutent du bruit à la mélodie ou si ils restreignent le bruit à la mélodie. Acharné de l’improvisation, le duo canadien se lâche volontiers, citant au passage l’Art du bruit de Luigi Russolo ou Anthony Burgess (Orange mécanique) pour soutenir leur discours, leur évocation libre de la création artistique. À cheval entre l’ambient, le jazz, le hip-hop baclé et le bruit blanc, morceaux_de_machines tisse des atmosphères tendues, catharsis numérique de processeurs furibonds et de lignes de programmation effrénées. Paradoxalement, leur musique n’est pas sans évoquer les productions de Deathprod sur Biosphère ou d’un Stock, hausen & walkman remixé par Kevin DrummDontigny et d’Orion se détachent de ces références en gardant une spontanéité et un abandon de soi à leur art. Ou une manière habile de garder le sourire en se bouchant les oreilles.

… morceaux_de_machines tisse des atmosphères tendues, catharsis numérique de processeurs furibonds et de lignes de programmation effrénées.

Recensione

Nicola Catalano, Blow Up, no 52, 1 septembre 2002

Animatori dello show radiofonico Napalm Jazz presso l’emittente quebecoise CKIA-FM, presto mutatosi in vero e proprio progetto musicale, Aimé Dontigny e Érick d’Orion hanno da qualche anno mutato denominazione in morceaux_de_machines mantenendo peraltro inalterata l’energia apocalittica della band originaria. Lo dimostra nitidamente l’album d’esordio liberum arbitrium che, prendendo le mosse dall’opera di Anthony Burgess e Luigi Russolo, si distende o piuttosto si aggroviglia in un infernale impasto impro-rumorista di ferocia inaudita. Un urticante attacco massimalista via carta vetra all’apparato uditivo, ed era da tempo che non se ne sentiva di così convincenti. (7/8)

… un infernale impasto impro-rumorista di ferocia inaudita.

Review

George Zahora, Splendid E-Zine, 25 juillet 2002

This is one of the most disorienting and abrasive CDs I’ve ever heard.

That’s not an award I hand out lightly. I’ve heard more than my share of noiseartsoundsculpture stuff in the last few years, and while many memories of those listening sessions have been reduced to panic-stricken hindbrain rantings (“Ears Hurt. Brain Hurt. What Noise? Why Loud? Why Hurt? Must Run Away!,” etc.), I’d like to believe that I’m as capable of finding beauty in eardrum-bursting cacophony as anyone can reasonably be expected to be. But I don’t recall having heard any other “improvised computer music” that’s as disjointed, disassociate and relentlessly disquieting as the work of Érick d’Orion and Aimé Dontigny.

Imagine listening to three different CDs on three different portable CD players at the same time. Now imagine doing it while falling down an endless flight of stairs, the tracks cutting in and out, overlapping and merging as you tumble arse-over-tip. That’s cut-up, liberum arbitrium’s opener, and one of the disc’s most benevolent moments.

Looking for something a little more invigorating? Try multivisión espacial, a thirteen-minute epic that sounds like nothing so much as a welding torch fight in a jack-in-the-box factory. Or if you’d like something a little more immediate, try the jolting sonic jabs, needle-sharp noise bursts, overmodulated white noise and excessive reverb of spencer; listen carefully, and you’ll discover a catchy little rock rhythm in the depths of the mix… unless you have an aneurysm first.

If prime shake is a gentle lullaby sung by a solid steel whale to its aluminum and polycarbon children, métal scrap might be an auditory close-up of the sound your car’s engine makes when you don’t change the oil for 30,000 miles. But if you really want to up the ante, skip straight to the closer, digisex. What does it sound like? Imagine a backhoe pushing a combination kitchen garbage disposal/56K modem into a giant glass cistern full of razor blades and styrofoam packing peanuts — oh, and you’re watching and listening to it over a 28K video stream. Makes you want to run right out and buy the disc, doesn’t it?

The mad thing is, it actually might. If you’ve ever taken a whack at creating improvised processed-noise pieces on your home computer, you know that making them interesting — even making them painful for an extended period of time — takes some serious thought and real creativity. It’s one thing to turn the distortion and the reverb all the way up and leave the room for half an hour; it’s another matter entirely to sit there, in the eye of the storm, fine-tuning the wind and the rain and the lightning. Once you’ve made it through liberum arbitrium a few times, assuming you accomplish such a feat, you’ll develop a legitimate appreciation for d’Orion and Dontigny’s work; they rip sounds apart at an almost genetic level, scrunching them and tearing them and twisting them and hacking at them and carving them into little potato-peeler-curlicues with the ravenous relish of sonic serial killers.

Realistically, though, there aren’t many people who’ll buy a disc like this, and even fewer who’ll listen to it on a regular basis. This is one of those albums that defines one of the polar “ends” of your record collection. It can’t be listened to casually; simply withstanding it eats up far more mental CPU cycles than the average active listening experience. You can’t ignore it, and you certainly can’t tune it out.

I figure there are three types of people who’ll buy it:

  1. Academic, wire-rimmed-spectacle-wearing intellectual types who grew up on death metal and have spent their later years seeking out increasingly extreme thrills, attempting to trump other members of their social circle in the difficult listening stakes;
  2. People seeking sonic armament. For instance, I’d love to play digisex at 5:00 a.m., at very high volume, for the cocksucker with the weapons-grade subwoofer who drives past my house with his car stereo blaring at 3:00 a.m., or for the workmen at the town home development down the street who fire up their earth-moving equipment at 6:30 to get a head start on the day;
  3. Random buyers attracted by the cover art and Latin title.

Regardless of which category suits you, rest assured that you’ve never heard computers make noises like these before (no, not even when you tried to play the OS X install CD). There’s something so resolutely non-musical about liberum arbitrium — despite the brief, unrecognizable song snippets (i.e. the one at the beginning of digisex) that bleed through its pink-noise shell — that its most intractable moments will be like siren songs to those musical explorers who are driven to the polar extremes of sound. You can’t sing along to it, you sure as hell can’t dance to it — hell, you can barely think to it — but you need to hear an album like liberum arbitrium at least once in your life, if only to define your boundaries.

… they rip sounds apart at an almost genetic level, scrunching them and tearing them and twisting them and hacking at them with the ravenous relish of sonic serial killers.

Review

François Couture, All-Music Guide, 25 juillet 2002

This noise duet is definitely of the maximalist persuasion. Aimé Dontigny and Érick d’Orion sculpt samples, digital noise, and miscellaneous sounds into thrilling oversaturated pieces. There is almost always a lot going on, yet the pair eschews harsh noise for its own sake. The eight improvisations on morceaux_de_machines’s debut CD liberum arbitrium have that sense of form and purpose one finds only in the works of the best noisicians. One could even say they approach the style from an academic electroacoustic point of view. No matter how noisy, dense, or harsh things get, they don’t reach the level where it would be cluttered and always seem to follow a greater plan. cut-up opens the disc with a brutal sound collage. multivisión espacial contains the harsher moments, Merzbow-esque, while rothko tends to be more pensive and restrained. digisex concludes with an orgiastic maelström, the perfect way to end.

This music is not for the faint at heart, but fans of intelligent noise — the kind that doesn’t take the listener for a brick wall you can throw anything at — will recognize in this album the spark of genius that occasionally sets an artist aside. And the final good news: liberum arbitrium is a class-A production (recorded while the group had a residency at Avatar in Quebec City) and is beautifully packaged with drawings by cartoonist Guy Boutin. A serious contender for best noise album in 2002, highly recommended.

liberum arbitrium is a class-A production… A serious contender for best noise album in 2002, highly recommended.

Review

Brian Lavelle, Vital, 13 juin 2002

Swathed in the closest I have yet seen to a Savage Pencil-esque liquefying demon sleeve — a truly fitting representation in pen and ink of this Canadian duo’s music — morceaux_de_machines’ debut CD is an insanely free journey into the possibilities of live laptop performance. Aimé Dontigny and Érick d’Orion’s improvisations are nothing less than startling in a context where the debate often centres mundanely around the merits or otherwise of watching individuals perform the digital equivalent of tape-based works. There is dripping sweat in this music; there is a refreshing ferocity and brutal dynamism in abundance. It seems even at times that the ghost of Coltrane’s 1966/67 interstellar live work pervades the proceedings. The resulting brew is a primordial mix of cut-ups, lifts, uncategorisable loops, acrid and acidic soundscaping and more, all the components reaching half-life at similar points in the fray. Like the sound of the multitude of layers being stripped internally from the walls of the atom, this is pure jazz fission. The penultimate track on liberum arbitrium is entitled rothko and the choice is apt, even as a generalised pointer to the sonic landscape of this disc: oversized slabs of dense, textural colour juxtaposed in an end-to-end fashion, exaggerated, confrontational, surprising - all essential qualities of a difficult but completely mesmerising sonic soup.

There is dripping sweat in this music; there is a refreshing ferocity and brutal dynamism in abundance. It seems even at times that the ghost of Coltrane pervades the proceedings.

Review

Jeremy Keens, Ampersand Etcetera, no 2002_7, 20 mai 2002

The evil face embedded in the doodlish ghoulish cover illustration by Guy Boutin juxtaposed with Sophie Dowse gentle watercolours on the inner sleeve is somewhat suggestive of direction, and is furthered by the Anthony Burgess quote (which is the only part of the extensive liner notes in English) about “two kingdoms… the eternal and luminous one of the divine lord’s own making, and the noisome stinking pit of pain and horror… of god’s enemy.” Within those notes “fragilité… construction de tension… danger… source des textures” all support the impression gained from the cover and delivered by the music.

Aimé Dontigny and Érick d’Orion, morceaux_de_machines, create some of the hardest ambient-noise I’ve heard recently, teetering between the pit of despond and the beautiful city. I thought cut-up would be the end of me – there is an on-going click-pop “melody” which sounds like the soundtrack to a sci-fi battle with choppy cd/tape samples below (either some rap of just aggressive people). As it continues, there is a surprising melodic aspect and a shattered stability. The disconcert continues in multivisión espacial with more rapid pops shoots bloops plips and more over samples, which sound like jazz with guitar flute etc. As time passes the aural assault continues, sharp needles of sounds, more noises, and eventually the surface noises become a merged buzz of sounds, brief dropouts, voices in there, to a quieter final minute.

When you think it will all be overwhelming, lo-fi soundscape eases the impact a little, with lighter whizzy surfaces over piano and sax, again easing to a quieter end. Or spencer’s percussive bursts melded with loose-cable crackle, all echoed slower and quite visceral. Voice pulses enter, it builds and distorts, and then there is a reverbed voice briefly talking to us (an unexpected directness) before a big layered end. And we are caught quite unaware by the lightness of prime shake: gentle pips and burrs, like a computer control room, soft rhythms and crackles, a distant tone melody: the crackle builds, it is all dense restraint into a percussive end.

métal scrap is well named as a scraping melody weaves through crackles drums and building noises over a soft solid bed, joined by a voice – possibly Hitler or a Dada-esque speech, hard to say – solid and directed. The squeaks clicks and soft tone pulses that open rothko are almost pastoral, electro-frogs, a slow echo-drum running through and slight increased density and pace, the samply-jump behind providing subtle noise, a little more desperate to the end before a crackle-pop fade. The final track digisex swings back to the more oppositional strategy, here a degraded distant pop sample provides some vocals and a rhythm, the bleeps and peeps over increase, subsumed by a soft and rumbly futz – a sort of bolero – and all breaks down again in the last minutes.

The beginning of this album threw me onto the back foot, and seemed all noise and aggression, but as I listened through it and on replay I actually warmed to it. m_d_m do achieve the straddling of the inferno and paradise suggested in the notes, creating a surprising and satisfying combination of electro-noise with subtler elements weaving through. Intriguing.

morceaux_de_machines create some of the hardest ambient-noise I’ve heard recently… a surprising and satisfying combination of electro-noise with subtler elements weaving through. Intriguing.

Autres textes

Terz, Critiques de disques no 34

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