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A quartet making a very avant-garde music. Melodies and abstraction collide to wonderful effect. This is based a lot around the excellent solo and group vocals, incidentally Mets ta langue means "put your tongue", and some of the song oriented pieces reminded me of the Art Bears, with a similar attention to simplistic/complex detail. I prefer the more obviously structured parts, yet there great instances when the vocals descend into abstract sound alongside the "Manipulation de cassettes", and free-jazz parts.
blogue@press-1277_008
press@1277_008
Mets ta langue is a perfect bridge between the above records. Derome, Pierre Tanguay and Diane Labrosse offer their flexible vocal and instrumental prowess to Hétu’s deliciously erotic lyrics (which also come with English translations). But there is nothing gratuitous here to these slightly whimsical takes on sex. In fact, if anything there is a rigorous muscularity to this pan-stylistic record. And there are Hétu’s earthy vocal acrobatics and the rest of the ensemble’s spirited vocal support, which gives the album a carnival-like atmosphere.
blogue@press-1076_103
press@1076_103
Joane Hétu is always interesting to check out. and if you don’t know this longtime member of the Ambiances Magnétiques collective, Mets ta langue is her at her most compositionally and sexually promiscuous. With the castors - Jean Derome, Diane Labrosse and Pierre Tanguay - Hétu launches into a warm inviting world of bodies at rest and play, entwined and making beautiful musique. Uncategoriseable, except to say this is some steamy meditation on the meeting of Hétu’s musical mind and her sexual self - check this one out and come in out of the cold to warm hands all over an alto sax and somehow, all over the listener.
blogue@press-1709
press@1709
Joane Hétu plays alto and sings on Mets ta langue (Ambiances magnétiques 62), an ambitious project combining multiple musical cultures. Her companions include Canadians Jean Derome (reeds, piano, small instruments, voice, and cassette manipulation), Diane Labrosse (sampler, accordion and voice), and Pierre Tanguay (drums and voice). The music has many dynamic highs of freely expressed instrumentation intermixed with vocal parts. The four create full-bodied sound at high volume levels that has punch and drive (Mets ta langue / L’eau du puits / Beauté / Le travail des animaux / Dans la joie l’amour / Un bout de papier / Mes odeurs preférées / Ben satisfaite / Ta maniere. 58:38). Multi-instrumentalist Derome is a powerful force on the recording, being reunited with Tanguay who propels furiously as the driver. Derome, a very talented and original artist, is a forceful blower when ignited, but he also shows a delicate and sensitive side here. The vocal segments, done principally in French with many sexual overtones, take on the fomm of operatic theater, being inserted in chant fomm that mixes smoothly into the oftenboisterous music. It is a pint effort, with everyone involved in the story telling while simultaneously generating the spirited instrumentation. Hétu also uses vocal utterances that blend into Labrosse’s accordion tones in unique fashion. The entire presentation from this talented foursome is a diverse approach to collective creativity of Jazz and theater.
blogue@press-1527
press@1527
Ce n’est pas vraiment Sade, mais les textes sont bien osés, délicieusement érotiques et ils auraient bien entendu convenus à Justine. Joane Hétu a préféré se les garder pour elle et son groupe.
Gémissements et râles mais aussi d’autres délires vocaux sont ainsi au rendez-vous d’une musique fortement structurée et puissante, qui mêle l’humour et la tendresse mélodique à des effets bruitistes issus d’une pratique d’improvisation sonore qui caractérise de plus en plus le collectif québecois.
blogue@press-1529_101
press@1529_101
Like Castor et Compagnie, her debut trom 1995, Joane Hétu’s second solo album, Mets ta langue, presents a variety ot stylistic activity. Once again Derome, Tanguay and Diane Labrosse are on hand to supply solid instrumental and vocal support. And this time Ambiances Magnétiques have included English translations to Hétu’s lyrics, some of which explore earthy eroticism with a pinch ot whimsy: “I love offering you my breasts like two juicy sweet melons that only wet your lips and stain your sweater,” Hétu sings on the folk-like L’eau du puits. The three part Beauté recalls Rock In Opposition style avantism with room for acerbic improvising, while Mes odeurs préférées, highlights Hétu’s vocal flexibility as she slides nonchalantly between throaty abstracton and conventional song. An attractive album full of unexpected turns and vibrant performances that make light work of the structural complexity.
blogue@press-1530_102
press@1530_102
Also available in digital format (MP3, etc.) at your favourite online store.