Falaise, Gilardino, MacSween

Some Love

ET 04

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Radio ›› Some Love
Some Love
small town (2005), 3m05s [excerpt]
Track 2 from Some Love
CD: &records (2005) ET 04
1 March 2007
By Pierre Durr in Revue & Corrigée #71 (France), March 1, 2007

Press Clipping

blogue@press-3263 press@3263
1 November 2006
By Rigobert Dittmann in Bad Alchemy #52 (Germany), November 1, 2006


Daneben ist Some Love (&04, 2005) fast wieder richtiger Small Town-Rock, mit einem halbwegs straight trommelnden Alexander MacSween und der nicht ganz so straighten Gitarre von Bernard Falaise. Allerdings hatten die beiden offenbar einen schweren Telepodunfall mit Fabrizio Gilardinos Tapes & Electronics. Das Brundleflywesen, das sich Foodsoon nennt, mag dann zwar von vorne noch als etwas verbeulter und eingedellter Rock durchgehen, von der Seite und von hinten betrachtet scheint jedoch das Genom ähnlich schwer angefressen zu sein wie bei den anderen Fehlversuchen x-ray owls und porcospino. Was da frisst, sind Säurespritzer an Noise, die das Ganze zuerst in 18 nur noch von Fasern zusammen gehaltene Fragmente splitten und dann in jedem einzelnen dieser Splitter von nur 20 bis 40 Sekunden oder anderthalb bis 4-minütigen Brocken weiter ätzen. Die Schwermetallbeats und Sägezahnriffs geraten dabei aus der Spur, fräsen sich zwar unverdrossen immer wieder eine neue, aber die Scharten, Zahnlücken und Rostflecken lassen sich nicht einmal durch Keyboarddrones und Bassgestampfe kaschieren. Gnadenschuss (shoot me)? Oder so tun, als ob nichts geschehen wäre (it never happened)? Weiter südlich zeigen sich ähnliche NoiseRock-Hybriden (Hair Police, Psi, Talibam!, Wolf Eyes) durchaus überlebensfähig. Gilardinos Lärmschlieren sind allerdings von einer besonders aggressiven Sorte, mit dominanten Genen, deren Zerstärungswerk sich anhärt wie Myriaden winziger Kieferscheren, die sich zwitschernd und schleifend durch Metall fressen. Was vor dem Unfall nur mehr oder weniger tumbes Halbstarkengerumse gewesen war, ist, mutiert, ein Faszinosum.

blogue@press-3277 press@3277
21 September 2006
By Giorgio Pace in Rocklab (Italy), September 21, 2006


“Alla fine lo ascolti perchè sembra l’ultima cosa genuina rock/noise rimasta sulla faccia della terra.”

Fabrizio Gilardino, Bernard Falaise e Alexander MacSween, rispettivamente alla manipolazione di nastri, chitarra basso e batteria. Il quinto lavoro per la & Records è fin’ora il più affascinante per svariati motivi, documentaristici e musicali: le varie schegge sonore presenti riportano alla memoria ogni tipo di esperimento sonoro, dai Throbbing Gristle, al lavoro di post produzione dei This Heat, dal rumorismo espressionista di Einstürzende Neubauten e i primi Klaxon Gueule, al post punk angolare degli Wire e dei Pere Ubu, al teatrino esistenziale dei Faust fino ai primi esperimenti di rumore degli Stooges, termine di paragone pù calzante per i Foodsoon: un intero disco a studiare le possibili combinazioni tra rumore e musica rock, un laboratorio dove sviluppare gli incastri possibili tra sample e sezione ritmica, un’industria al cui interno viene suonato Fun House. Quello che stupisce è effettivamente la capacità di sintesi e di messa a fuoco all’interno dell’album, capace di sbalzi prepotentemente punk (small town, blank ulrich, 10 x mary) come di slanci improvvisativi (east, further east than a walking distance) e momenti puramente noise: ovvero quando lo studio sulle sfaccettature del rumore si snoda attraverso la canzone. Alla fine lo ascolti perchè sembra l’ultima cosa genuina rock/noise rimasta sulla faccia della terra.

blogue@press-3138 press@3138
16 August 2006
By Dolf Mulder in Vital #539 (Netherlands), August 16, 2006


Of course you often use the ‘&’ sign, but it’s less known that it means ‘Et’ from Mediaeval times, and means of course ‘and’. &Records is a label from Montréal, and in all five of the current releases you can find musicians from Montréal, and the broadest description would be to say that they all play improvised music, each in their own specific way. Not that every release is fresh, and let us once again state: Vital Weekly doesn’t like reviewing three years old releases, and good idiots as we are, we still do that. There is/will be a time, when we will ignore them.

The release by Bob is the oldest, from 2003. Bob is Éric Bernier (voice, computer, machines), Michel F Côté (computer, machines, rare back vocals), Guy Trifiro (computer, machines) who are helped by Jean Derome (baritone saxophone, bass flute, piccolo), Bernard Falaise (electric guitar), Normand Guilbeault (contrabass) and Alexandre St-Onge (electronics). Like we will see on some of the other releases, the voice plays an important role for Bob, but inside Bob it is the most clear example of voices that originally come from popmusic, or rather postpunk music. Also the music hints in that direction. Very ‘London’ like post punk music, with rhythms, bass, guitar and of course singing by various voices. But then, except the singing, all played on a bunch of modern day machines. It’s quite nice, well produced, certainly sounding outdated, but it’s a great release. Very pop with a great touch of experimentalism.

Martin Tétreault is of course a well-known turntablist, who not just spins records but also the turntable itself. From three solo concerts he made recordings and gave them to one Bernard Falaise, who in turn selected 33 short fragments between 5 and 40 seconds, 11 per concert. These were then used in the eleven, three minute pieces on Des Gestes Défaits. Conceptually alright, but I must say it also works out musically quite well. It’s a highly intelligent composition of turntable sounds, that is rhythmic, at times noisy and at times introspective. A powerful release of cracking analogue sounds colliding in a digital world called the computer.

Although the name Michel F Côté rings a familiar bell somewhere, I am not sure if I heard some of his music before. He is one of the two directors of the &Records label. 63 Apparitions was written for a choreography and Côté plays electronics, computer, percussion, piano and voice and gets help from Diane Labrosse (voice), Christof Migone and Martin Tétreault (both on objects) and uses music from John Cage (his ‘Érik Satie’ piece) and Érik Satie (the ballet Socrate). It’s hard to say what the choreography is about (if I would understand choreography at all, really), but the music is very nice: it sounds like a bunch of clockworks going down, hectic percussive sounds, banging on all sorts of small objects and speed up sounds of mechanical toy music. At times highly vibrant and jumpy, but here to the softer parts are equally nice.

Klaxon Gueule is a trio of Michel F Côté (percussion, electronics, voice), Bernard Falaise (guitars, piano), Alexandre St-Onge (bass, electronica, voice). The voices seem important but they hardly sound like real voices: they are heavily processed or may be the singers are highly possessed and make their own transformations in sound. The music is a combination of improvised music bumping up to the ideas of musique concrete. At times acoustical, at times electrical, and at times a bit boring. Not every second on this CD could interest me, and it stayed too much on the same level, with grabbing the listener very much. Occasionally also a bit too regular in terms of improvisation for me. Having said that, there are also quite captivating moments here, so I’m left with rather mixed feelings.

The latest release is by Foodsoon, a trio of Bernard Falaise (guitar, bass, keyboards), Alexander MacSween (drums, piano, keyboards, vocals) and Fabrizio Gilardino (prepared tapes, electronics, vocals). This is by far the most rocking release of the lot. Foodsoon is a rocking trio that use the method of heavy rock drumming, in combination with a love of improvising sounds on their guitars and keyboards. It makes Foodsoon standing in a long tradition, from anywhere from The Beatles to Sonic Youth to any current day post rock band, but they do a nice job, and one that is not entirely on the well-went paths of other groups. It seems that sometimes the sense of experiment prevails, but then it might as easily burst out into another furious banged rhythm. Perhaps at those times it’s a bit too rock for me, but throughout I thought this is most enjoyable disc.

blogue@press-3122 press@3122
15 August 2006
By S Chema in Pop-Page (Spain), August 15, 2006


“Al lado de éstos, gente como Wolf Eyes, Black Dice o No-Neck Blues Band hacen pop. Hoy por hoy no encontrarán nada más arriesgado. Así que abróchense los cinturones.”

Refugiados en el Hotel2Tango — base de operaciones de la familia GY!BE-, Foodsoon han grabado un disco de vanguardia extrema de un radicalismo nada habitual. El trío formado por Bernard Falaise (guitarra, bajo y teclados), Fabrizio Gilardino (electrónica, cintas preparadas y voz) y Alexander MacSween (batería, teclados, piano y voz) desatan en Somelove un caótico brainstorming sin principio ni final, sin puertas ni ventanas, entrada o salida. Cuarenta minutos de deconstrucción mal encarada e incómoda, divididos en dieciocho retales carentes de lógica o sentido, cortados a tijeretazos, arrugados y amontonados de cualquier manera, originando un incómodo collage vertiginosamente anárquico. Foodsoon mastican las enseñanzas de Faust, This Heat y los primeros Einstürzende Neubauten para luego escupirlas con agresividad y fiereza. Es imposible encontrar nada reconocible en este montón de chatarra: Guitarras maltrechas, martillazos de batería, cassettes analógicos que se retuercen entre crujidos, salpicones de cacharrería electrónica abollada… La sensación es la misma que al intentar sintonizar un dial en plena caída libre. Una experiencia confusa y estremecedora, pero insuperablemente excitante. Al lado de éstos, gente como Wolf Eyes, Black Dice o No-Neck Blues Band hacen pop. Hoy por hoy no encontrarán nada más arriesgado. Así que abróchense los cinturones.

blogue@press-3121 press@3121
1 June 2006
By Emilio Cozzi in Rolling Stone Italia #32 (Italy), June 1, 2006


Cos’è? Sembra il sottofondo rumorista di un cortometraggio porno-romantico di Richard Kern. Sembra la rilettura musicale degli esperimenti cinematografici di Michael Snow (lascia un microfono in un’officina e registra tutto). Parrebbe pure che Trent Reznor, passato di lì, abbia detto la propria sull’avant-rock (do fall) o su come lui percepisca i Pink Floyd (small town). No, niente di tutto ciò. O, forse, molto di più. Ecco i Foodsoon, eclettico trio canadese dedito ora alla sperimentazione (roba che piacerebbe a Mike Patton o ai Bob, compagni di etichetta), ma con consapevolezza chirurgica. Ascoltate gli intrecci ritmic-armonici di questi 18 pezzi e converrete: cos’è? "Solo" ottima musica.

blogue@press-3109 press@3109