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Radio ›› La notte fa
La notte fa
Ritmi di oggetti (2006-08), 4m34s [excerpt]
Track 1 from La notte fa
CD: &records (2008) ET 05
1 November 2010
By Henryk Palczewski in Informator “Ars” 2 #51 (Poland), November 1, 2010

Press Clipping

blogue@press-4300 press@4300
1 April 2010
By Vincenzo Giorgio in Wonderous Stories #17 (Italy), April 1, 2010

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Ne La notte fa (ovvero l’incontro tra due percussionisti (sic) “inquieti assai”, Michel F Côté e a_dontigny) viene preso in considerazione un substrato elettro-rock trasfigurato da un fitto uso di elettronica destrutturante (ad esempio Ritmi di oggetti ma anche le più soffuse Unlisted Card Number e soprattutto Paxil Origami Club) il tutto filtrato da una propensione addirittura “punk” (Bounce Dat ARN). Molto interessanti gli apporti degli ospiti Alexandre St-Onge (basso), Alexander MacSween (batteria) l’immancabile Bernard Falaise (chitarra) e soprattutto Jean René alla viola.

La medesima etichetta (&records) pubblica Sainct Laurens di Philippe Lauzier e Pierre-Yves Martel, opera di abbacinante introspezione timbrica dove i fiati (Philippe) e gli archi (Pierre-Yves) vengono dolcemente molestati da un’elettronica diffusa e soffusa. Nascono così piccole gemme come Brazos, Adda e Alz. Tre parole sussurrate nella penombra elettroacustica.

blogue@press-4131 press@4131
18 March 2010
By Mike Chamberlain in Hour (Québec), March 18, 2010

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Côté and Dontigny piece together their aural constructions […] into strange and surprisingly accessible electro-dance delights.”

Ritmi di oggetti, the first track on La Notte fa, is an orgy of stripped-down, fuzz-toned rhythm; the second track, Unlisted Card Number, is all textural dub ambient percussion; and the third piece, Paxil Origami Club, sounds like broken-down and refracted disco, with the flashing lights but minus the cheese. And that’s just the first third of the album. Côté and Dontigny piece together their aural constructions from fragments of pop culture with tapes and electronics, cutting up and reassembling samples from sources as diverse as Maurice Ravel, Don Cherry and Ol’ Dirty Bastard into strange and surprisingly accessible electro-dance delights.

blogue@press-4125 press@4125
1 March 2010
By David Grundy in Eartrip #5 (UK), March 1, 2010

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“One is left to conclude, then, that it’s best to avoid looking for comparisons, for generic references, as they’re pretty much useless in describing music that’s so determinedly askew, so schizophrenically active, so resistant to easy digestion and to standardised comprehension as this…”

Jittery, cut-up music in which a barrage of samples — fragments of barely-recognisable speech, conventional instruments running a gauntlet of electronic distortion, snippets of grooves and beats that have been pulled and stretched and chopped to pieces — collide and (less frequently) cohere into a soundscape that can strike one at different moments as either fun, in a kind of crazy, sped-up way, or nightmarish, for pretty much the same reason. The starting point here would seem to be the more experimental moments of Autechre or Aphex Twin, with the tendency to repetitive, danceable beats knocked to one side to leave something which has a definite physical pull to it, but which isn’t going to make you dance to any sort of regular rhythm- rather, your stop-start spasms will give you away as a madman dancing to the disrespectful voices in your head. There’s no real question of ‘soloing’ here, or even of distinguishing between the various musicians, given the way that everything is mashed-up through electronics: the occasional beats which can be heard to come from a conventional drum-kit are soon overlaid with all manner of computerised sputters and run-away loops, and Jean René’s viola, which might have pulled things in a more ambient direction (à la Coil’s Moon’s Milk) is kept firmly to the bottom of the mix on his one contribution to the album. It’s rather like listening to a radio station with really fucked-up reception for an hour, the few moments of respite being provided through samples of Maurice Ravel’s Ma mère l’oye and a Don Cherry trumpet piece that appear, are toyed with, mangled out of recognition, and then discarded for the next set of electronic whirligigging. Another comparison might be the sample-overload of early Public Enemy without the (relatively) stabilising element of Chuck D and Flavor Flav’s vocals, which are at least determinedly about something: no such reference points here. One is left to conclude, then, that it’s best to avoid looking for comparisons, for generic references, as they’re pretty much useless in describing music that’s so determinedly askew, so schizophrenically active, so resistant to easy digestion and to standardised comprehension as this; music as chemical substance, hurtling through the blood-stream, sparking all sorts of strange, shuddering journeys through the brain.

blogue@press-4135 press@4135
1 February 2010
By Rigobert Dittmann in Bad Alchemy #65 (Germany), February 1, 2010

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Max & Moritz enden erst zum Schluss in der Schrotmühle und im Gänsemagen, a_dontigny & Michel F Côté stürzen sich gleich mit den ersten Klängen von La notte fa (&05) selbst in einen Häcksler aus Tapes, Electronics, digitalem Signalprozessing, vor allem aber a_dontignys Cut-ups. Die spucken nicht nur Côtés Drumming und die von a_dontigny eingesetzten Drum-Machine-Beats verhackstückt wieder aus, sie spucken auch mit - unkenntlichen - Fetzen und Brocken von Don Cherry, dem Mahavishnu Orchestra, Ol’ Dirty Bastard, Maurice Ravel, Les Poules oder dem Soundtrack von Cronenbergs Videodrome um sich. In unterschiedlichen Kreisbahnen und Tempi wirbeln Klangfetzen als ein Mahlstrom, der einen selbst wie Treibgut zu erfassen droht, weil einem zunehmend schwindlig wird und man von giftigen, spitzen Rotationen gepiesackt das Gleichgewicht verliert. Die Welt ist ein hektischer, lärmiger Schlund, in dem rhythmische Kleinstteile umeinander loopen, ein gurgelnder, zwitschernder Abfluss, der alles in Reichweite schluckt. Frickeliger Drum’n’Bass ist im Vergleich dazu gemütlich ambient. Hier geht es noisiger zu, molekularer, mulmiger. Côtés Trio Klaxon Gueule geht schon in diese technoide, posthumane Stilrichtung, die Ego und Handschrift verwischt wie ein Gesicht im Sand. Identität bekommt etwas Geisterhaftes und Nostalgisches, wie Cherrys Trompete bei visiones nocturnae. Was da wie eine Parade von Nähmaschinen im Regen klingt, verbindet nichts mehr, nicht einmal surreale Zufallsbekanntschaften. Es wirkt wie pure Aktivität wild gewordener Automaten. Mehrfach besetzt Côté mit furiosem oder sturem Drumming das Zentrum, aber ohne Bindekraft, eher scheint er so die Fliehkräfte noch zu steigern. Ich sage das nicht kritisch. Das ist realistische und zeitgemäße Musik mit zeitgemäßen Titeln wie The Book Burner. Nur ich, ich war noch nie Realist, und zeitgemäß will auch ich immer weniger sein.

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28 January 2010
By François Couture in Monsieur Délire (Québec), January 28, 2010

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“Nice sonic work, nice energy, nice way to sound sloppy yet under control. Kudos!”

Wow, this is one fun, dirty collaboration between drummer/noisician Michel F. Côté and sampling artist a_dontigny (Aimé Dontigny of morceaux_de_machines). Explosions of drums, limping pieces, decontextualized audio quotes, irreverential games. It’s driving, intriguing, it’s trying to be ugly but it ain’t! Nice sonic work, nice energy, nice way to sound sloppy yet under control. Kudos! And La Notte Fa is totally in line with Côté’s latest recording projects, namely (juste) Claudette and Vulgarités, his duo with Isaiah Ceccarelli.

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