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    <title>actuellecd.com - Headlines</title>
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    <description>actuellecd.com - Headlines</description>
    <language>en-ca</language>
    <pubDate>2013-05-24T00:00:00-06:00</pubDate>
    <lastBuildDate>2013-05-24T00:00:00-06:00</lastBuildDate>
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    <item>
      <title>New Arrival: Le Refuge by Trifolia</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130521</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130521</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2013-05-21T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/trud_20131/" title="Le Refuge"><img src="http://www.electrocd.com/res/image.php/couv/trud_20131.jpg?width=160&forceresize=1" class="catimg" alt="Le Refuge" title="Trifolia: Le Refuge" /></a>
                      
                      
                      
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      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/trud_20131/" class="cat" class="t">Le Refuge</a>
      by <span  class="bio" class="ind">Trifolia</span>,
      
      
      the latest addition to our shop.
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Le Refuge</a>
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      <title>Current &amp; Upcoming Events</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=evenement</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=evenement</guid>
      <author>web@electrocd.com</author>
      <category>Live Events</category>
      <pubDate>2013-05-24T00:00:00-06:00</pubDate>
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      <li>
        <b>May 16-25, 2013</b>: <span class="out" >Festival des musiques de cr&eacute;ation</span>: 22
        
        
          Presented by
<a class="out" href="http://www.musiquesdecreation.org/">FCM</a>
  
          (Jonqui&egrave;re, Qu&eacute;bec)
        
      </li>

      
    
      <li>
        <b>May 31 - June 1, 2013</b>: <span class="out" >Between the Ears</span>: Open Ears + Contemporary Art Forum Kitchener and Area
        
        
          Presented by
<a class="out" href="http://www.openears.ca/">Open Ears</a>
  
          (Kitchener, Ontario, Canada)
        
      </li>

      
        <li>
          <a href="http://www.actuellecd.com/en/liens/even/en_cours/">
Browse all upcoming events</a>
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      <title>Ars Electronica Prix - Nicolas Bernier: tra frequenze e dicotomie</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4915</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4915</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-05-21T00:00:00-06:00</pubDate>
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                          <a href="http://www.actuellecd.com/en/bio/bernier_ni/discog/" title="Nicolas Bernier"><img src="http://www.electrocd.com/res/image.php/photo/bernier_ni.6414.jpg?width=250&height=250" /></a>
                        
                      
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    By Donata Marletta

    
      <i>in</i> <a class="out" href="http://www.digicult.it/it/news/ars-electronica-prize-winners-nicolas-bernier-between-frequencies-and-dichotomies/">Digicult</a> (Italy), May 21, 2013
    
  

  

  
    
      
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            <p><span class="ind">Nicolas Bernier</span> &egrave; uno degli artisti pi&ugrave; interessanti e raffinati della scena contemporanea. La sua opera <span class="w">frequencies (a)</span> &egrave; stata premiata due giorni f&agrave; con il prestigioso Golden Nica per la sezione “Digital Musics and Sound Art” dal festival Ars Electronica.</p> <p>Nicolas &egrave; un artista del suono che lavora con strumenti meccanici e digitali. Le dicotomie sembrano descrivere al meglio la sua produzione artistica: digitale / organico, tradizione / sperimentazione, cerebrale / sensoriale, meccanico / elettronico. Le sue creazioni artistiche e collaborazioni sono varie; &egrave; anche membro di Perte de signal, un collettivo e centro di ricerca sulle arti multimediali situato a Montreal, e candidato al PhD in arti sonore presso la University of Huddersfield (Regno Unito).</p> <p>Il Golden Nica &egrave; stato l’occasione per intervistare Nicolas sui suoi ultimi progetti e la recente performance dal vivo di <span class="w">frequencies (a)</span> presentata durante l’ultima edizione dell’Elektra Festival di Montreal, direttore dall’artista e curatore Alain Thibault</p> <p><span class="ind">Donata Marletta</span>: Mi puoi parlare della performance sonora <span class="w">frequencies (a)</span>? Quali sono state le fonti d’ispirazione per questo tuo lavoro?</p> <p><span class="ind">Nicolas Bernier</span>: L’idea di lavorare con i diapason mi venne un po’ di tempo fa mentre stavo cercando un modo per integrare toni stabili nelle mie performances sonore che erano per lo pi&ugrave; basate su rumore e oggetti. Stavo cercando di evitare l’uso di strumenti musicali tradizionali come elementi tonali. Poich&eacute; ho sempre lavorato con oggetti obsoleti, e che spesso mi soffermo sulla relazione tra musica, suono, vecchia e “nuova” tecnologia, l’uso del diapason mi sembrava perfettamente logico. Lo era perch&eacute; il diapason in passato &egrave; sempre stato uno strumento scientifico di precisione, perch&eacute; &egrave; il simbolo della musica tonale, ma soprattutto perch&eacute; produce un suono che &egrave; vicino alla sinewave (onda sinusoidale) pura, uno dei primi suoni utilizzati nella composizione di musica elettronica. A quel punto iniziai una collezione di diversi tipi di diapason, dai pre-440hz del IX secolo ai pi&ugrave; recenti, usati in campo medico. Portavo con me i diapason ovunque (a quel tempo stavo facendo un po’ d’improvvisazione) e quindi realizzai un primo album usando i diapason (strings.lines, 2010, Cr&oacute;nica).</p> <p>Gradualmente fui ossessionato da quest’oggetto che divent&ograve; il mio strumento musicale principale. Ancora non ero del tutto soddisfatto perch&eacute;, attraverso la gestione manuale dei diapason, non potevo essere preciso come avrei voluto. Da questa esigenza mi venne l’idea di automatizzare i diapason.</p> <p><span class="ind">Donata Marletta</span>: Recentemente hai presentato <span class="w">frequencies (a)</span> al festival Elektra di Montreal. Come hai organizzato l’allestimento della performance dal vivo? Che tipo di strumentazione hai utilizzato?</p> <p><span class="ind">Nicolas Bernier</span>: Per questa performance il festival Elektra mi ha fornito la condizione pi&ugrave; ideale che potessi immaginare: una piccola sala (100 persone al massimo) unicamente dedicata alla presentazione di <span class="w">frequencies (a)</span> per tre giorni di fila. Questo &egrave; davvero un lusso poich&eacute; di solito i festival di musica elettronica sono alquanto schematizzati: una grande sala, un grande schermo, poco tempo per sistemare le apparecchiature in base ad un nuovo ambiente. C’&egrave; una ragione per tutto questo, non &egrave; una critica, ma il fatto &egrave; che alcuni lavori hanno bisogno di condizioni diverse. Questo &egrave; il caso di <span class="w">frequencies (a)</span> in quanto non &egrave; stata costruita secondo un formato standard per la presentazione, ma secondo i bisogni specifici della performance stessa. Poich&eacute; l’opera ha a che fare con oggetti di dimensioni ridotte (i diapason, piccoli solenoidi, suoni delicati, precisione), il pubblico ha bisogno di stare molto vicino all’opera. &Egrave; stata creata secondo il principio dell’intimit&agrave; piuttosto che della grande spettacolarit&agrave;.</p> <p>Per quanto riguarda la strumentazione, con l’aiuto di Laurent Loison e Olivier Lefebvre, abbiamo costruito delle piccole strutture in acrilico che trattengono i diapason e i solenoidi, usati per attivare i diapason. Ognuna di esse &egrave; collegata ad un microfono e ad un flusso di luce generato dal tavolo luminoso appositamente progettato sul quale sono collocate. Il tavolo inoltre nasconde la parte elettronica (usb / scheda dmx). Tutto il voltaggio inviato alle luci e ai solenoidi &egrave; trasferito attraverso la scheda dmx. Il resto &egrave; una questione di composizione, di organizzazione delle sequenze audiovisive in sincrono, che gestisco io dal vivo con Ableton Live e Max For Live.</p> <p><span class="ind">Donata Marletta</span>: Trovo davvero affascinante il modo in cui riesci ad abbinare strumenti analogici e digitali. Come ti poni rispetto a questi due elementi contrastanti?</p> <p><span class="ind">Nicolas Bernier</span>: Questa relazione tra l’elettronico e il meccanico / fisico &egrave; stato l’elemento scatenante che mi ha fatto venire voglia di lavorare nel campo delle arti elettroniche. Oggi il dialogo tra questi due elementi &egrave; totalmente fluente ma 10 o 15 anni fa, all’apice della laptop performance, quella combinazione era estremamente attraente in quanto la maggior parte dei lavori erano o esclusivamente digitali oppure non lo erano affatto.</p> <p>Da allora il mio lavoro ha sempre fatto affidamento sull’uso di elementi fisici processati da un computer. Lo stimolo per un’idea o un progetto viene sempre dal mondo fisico ma il modo in cui voglio presentare l’idea richiede abilit&agrave; al computer. Per me la cosa pi&ugrave; importante &egrave; l’equilibrio tra gli elementi, cercando di non precipitare sia nel completamente “naturale” e neppure nel completamente “digitale”. Io credo che non si dovrebbe distinguere tra il naturale e il virtuale / artificiale. Tutto &egrave; collegato e comunica reciprocamente, tutto &egrave; processato in un modo o nell’altro. Per esempio, l’azione di innaffiare una pianta pu&ograve; essere vista come un processo artificiale.</p> <p><span class="ind">Donata Marletta</span>: Hai una variet&agrave; di lavori e collaborazioni molto differenti, dalla danza, teatro, post-rock alle arti visive, performances sonore e musique concr&egrave;te. Mi puoi dire quali sono i tuoi punti di riferimento principali e le tue “muse ispiratrici”?</p> <p><span class="ind">Nicolas Bernier</span>: Sono profondamente interessato alle arti e non capisco perch&eacute; esistano delle “categorie”, se non per ragioni politiche e storiche. In ogni caso, non posso dibattere sul fatto che il mio mezzo principale &egrave; il suono e probabilmente rester&agrave; sempre questo. Il mio interesse si ferma ovunque, ed offre una molteplicit&agrave; di influenze al mio lavoro. Quando sono colpito da qualcosa, non mi chiedo a quale categoria faccia parte. &Egrave; la stessa cosa quando creo, faccio quello che sento di dover fare, senza chiedermi se la cosa rientra in una categoria o in un’altra. Questo &egrave; il motivo per cui, anche se il mio mezzo &egrave; il suono, spesso mi interrogo sull’aspetto performativo, teatrale, gestuale, visivo e, ovviamente, musicale.</p> <p>Per questi motivi le mie muse sono ovunque. Tendo a preferire le persone che mi stanno vicino. Denis Marleau e St&eacute;phanie Jasmin sono direttori di palco con i quali ho lavorato e che hanno avuto una forte influenza sul modo in cui percepisco le arti dal vivo. Olivier Girouard, Jacques Poulin-denis, Martin Messier e tutti gli artisti di Perte de Signal (un centro gestito da artisti di cui sono membro), sono tutti cari amici che mi hanno ispirato.</p> <p>Se dovessi fare dei nomi, direi: <span class="ind">Jim Jarmusch</span>, <span class="ind">Pierre Schaeffer</span>, <span class="ind">Marcel Dzama</span>, <span class="ind">Karl Lemieux</span>, <span class="ind">Janet Cardiff</span>, <span class="ind">Wong Kar-wai</span>, <span class="ind">FW Murnau</span>, <span class="ind">Karlheinz Stockhausen</span>, <span class="ind">Luc Ferrari</span>, <span class="ind">Francisco Meirino</span>, <span class="ind">Ryoji Ikeda</span>, <span class="ind">Hermann von Helmholtz</span>, <span class="ind">Sol LeWitt</span>, <span class="ind">Alain Bashung</span>, <span class="ind">Zimoun</span>, <span class="ind">Portishead</span>, <span class="ind">Chris Salter</span>, <span class="ind">Vil&eacute;m Flusser</span>, <span class="ind">Jacques Ranci&egrave;re</span>, <span class="ind">Marc Ribot</span>, <span class="ind">Wes Anderson</span>, <span class="ind">S&eacute;bastien Roux</span>, <span class="ind">Carl Andre</span>, <span class="ind">Arnaud Fabre</span>, <span class="ind">Jean-Pierre Gauthier</span>, <span class="ind">The Dillinger Escape Plan</span>, <span class="ind">William S Burroughs</span>, <span class="ind">Dan Flavin</span>, <span class="ind">Mark Fell</span>, <span class="ind">Gilles Gobeil</span>, <span class="ind">Herman Kolgen</span>, <span class="ind">Robert Lepage</span>, <span class="ind">Pe Lang</span>… ovviamente questo &egrave; quello che mi viene in mente al momento.</p>
          
        
  
        
          
        
      
    
    
    
  


                  
                
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      <title>New Arrivals</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130514</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130514</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2013-05-14T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/victo_125/" title="Echo Echo Mirror House"><img src="http://www.electrocd.com/res/image.php/couv/victo_125.jpg?width=160&forceresize=1" class="catimg" alt="Echo Echo Mirror House" title="Anthony Braxton: Echo Echo Mirror House" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/victo_122/" title="Solo + Trio Roma"><img src="http://www.electrocd.com/res/image.php/couv/victo_122.jpg?width=160&forceresize=1" class="catimg" alt="Solo + Trio Roma" title="Peter Br&ouml;tzmann: Solo + Trio Roma" /></a>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/victo_124/" title="Victoriaville mai 2011"><img src="http://www.electrocd.com/res/image.php/couv/victo_124.jpg?width=160&forceresize=1" class="catimg" alt="Victoriaville mai 2011" title="Merzbow, Richard Pinhas, Wolf Eyes: Victoriaville mai 2011" /></a>
                      
                      
                      
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        We have added 3 items to our shop today:
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      <a href="http://www.actuellecd.com/en/cat/victo_125/" class="cat" class="t">Echo Echo Mirror House</a>
      by <a href="http://www.actuellecd.com/en/bio/braxton_an/" class="bio" class="ind">Anthony Braxton</a>
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      <a href="http://www.actuellecd.com/en/cat/victo_122/" class="cat" class="t">Solo + Trio Roma</a>
      by <a href="http://www.actuellecd.com/en/bio/brotzmann_pe/" class="bio" class="ind">Peter Br&ouml;tzmann</a>
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      <a href="http://www.actuellecd.com/en/cat/victo_124/" class="cat" class="t">Victoriaville mai 2011</a>
      by <a href="http://www.actuellecd.com/en/bio/akita_ma/discog/" class="bio" class="ind">Merzbow</a>, <a href="http://www.actuellecd.com/en/bio/pinhas_ri/" class="bio" class="ind">Richard Pinhas</a>, <a href="http://www.actuellecd.com/en/bio/wolfeyes_/" class="bio" class="ind">Wolf Eyes</a>
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        We invite you to check them out!
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4908</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4908</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-05-06T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/mam_016/" title="Ar&ocirc;mes d’ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/mam_016.jpg?width=160&forceresize=1" class="catimg" alt="Ar&ocirc;mes d’ailleurs" title="Bomata: Ar&ocirc;mes d’ailleurs" /></a>
                      
                      
                      
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      <i>in</i> <a class="out" href="http://ajazzlistenersthoughts.blogspot.ca/2013/05/two-weeks-have-passed-and-lot-has-come.html">A jazz listener’s thoughts</a> (Canada), May 6, 2013
    
  

  

  
    
      
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            <p><span class="ind">Bomata</span> <span class="t">Ar&ocirc;mes d’ailleurs</span> (Mam 2013): A French Canadian trio of <span class="ind">Jean Felix Mailloux</span> on bass,<span class="ind">Guillaume Bourque</span> on clarinet and bass clarinet, and <span class="ind">Patrick Graham</span> on drums, with support from pianist <span class="ind">Jerome Beaulieu</span> on piano on two pieces and additional percussion on others. This is a soothing outing featuring the clear and mellow lower registers of the clarinets over some nice rhythmic play from the bass and percussion, always taken at a moderate pace and dynamic. Many of the pieces are named for spices and flavorings -- cumin, sesame, saffron, jasmine, cardamon -- and others have names like <span class="w">At the Park</span> and <span class="w">White Night</span> which are expressive of the delicate flavors that the band produces. Really pretty modern impressionism.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4910</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4910</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-05-06T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/am_209/" title="Wow!"><img src="http://www.electrocd.com/res/image.php/couv/am_209.jpg?width=160&forceresize=1" class="catimg" alt="Wow!" title="Trio Derome Guilbeault Tanguay: Wow!" /></a>
                      
                      
                      
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    By Dolf Mulder

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/881.html">Vital</a> #881 (Netherlands), May 6, 2013
    
  

  

  
    
      
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              “<span class="t">Wow!</span> is a fine release, because it brings a new perspective for people like me”
            
          
        
          
            <p>New releases by well-known combinations and artists. <span class="t">Wow!</span> is a fine release, because it brings a new perspective for people like me who say by impulse, exposed to traditional jazz, ‘oh yes, I know that, but please pass it to someone else’. Their interpretations are very vivid and here and now. They don’t bring old pieces to the present, but also the other way around if that makes any sense. <span class="t">Wow!</span> is their fifth effort featuring three compositions by <span class="ind">Derome</span> and four standards: <span class="w">The Best Things in Life Are Free</span> (<span class="ind">Ray Henderson</span>), <span class="w">Wow</span> and <span class="w">Dreams</span>, both written by <span class="ind">Lennie Tristano</span> and <span class="w">The Baron</span>, a composition by <span class="ind">Eric Dolphy</span>. A mix we know already from their earlier releases. The players are true believers in the classic jazz material, and succeed in putting them in unpretentious and convincing jackets.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4911</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4911</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-05-06T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/am_211/" title="Bruit court-circuit"><img src="http://www.electrocd.com/res/image.php/couv/am_211.jpg?width=160&forceresize=1" class="catimg" alt="Bruit court-circuit" title="Ensemble SuperMusique: Bruit court-circuit" /></a>
                      
                      
                      
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    By Dolf Mulder

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/881.html">Vital</a> #881 (Netherlands), May 6, 2013
    
  

  

  
    
      
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              “The ensemble uses noise-esthetics, sound-improvisation, sprechgesang, acoustic and electronic soundsources, etc, for well-defined excursions and compositions, that are far more than just an eclectic mix. But a new musical language.”
            
          
        
          
            <p><span class="ind">Ensemble Supermusique</span> interprets six compositions, by the hands of <span class="ind">T&eacute;treault</span>, <span class="ind">St-Onge</span>, <span class="ind">Roger</span>, <span class="ind">H&eacute;tu</span> and <span class="ind">Derome</span>. They are also the players of these pieces together with <span class="ind">&Eacute;mile Girared-Charest</span> (violoncello),<span class="ind">Vergil Sharkya</span> (synthesizer), <span class="ind">Michel F Cot&eacute;</span> (drums, microphones) and <span class="ind">Guido del Fabbro</span> (violin). The opening piece <span class="w">Malgr&eacute; tout Face A</span> is an work by <span class="ind">T&eacute;treault</span>. Based on a straight and simple beat, sampled sounds, voice,s, etc. are put over it. Halfway after a break of silence, a narrator speaks with mellotron-like sounds in the background. Also in his second piece on this album, <span class="w">Malgr&eacute; tout Face B</span> experiments with beat. In <span class="w">Le fruit du hasard</span> by <span class="ind">Derome</span>, rhythm and melody and not far way. In all other compositions we are dealing with far more abstract soundconstructions, built from a diversity of sounds, instruments and objects. An example of this is the piece <span class="w">SM: re-trait de l’abjection</span>, the work I liked most. The ensemble uses noise-esthetics, sound-improvisation, sprechgesang, acoustic and electronic soundsources, etc, for well-defined excursions and compositions, that are far more than just an eclectic mix. But a new musical language.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4912</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4912</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-05-06T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/am_210/" title="La Femme territoire ou 21 fragments d’humus"><img src="http://www.electrocd.com/res/image.php/couv/am_210.jpg?width=160&forceresize=1" class="catimg" alt="La Femme territoire ou 21 fragments d’humus" title="Joane H&eacute;tu: La Femme territoire ou 21 fragments d’humus" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Dolf Mulder

    
      <i>in</i> <a class="out" href="http://www.vitalweekly.net/881.html">Vital</a> #881 (Netherlands), May 6, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “The whole is made up of 21 small pieces, each with its own dramatic and musical quality.”
            
          
        
          
            <p>The new solo work by <span class="ind">H&eacute;tu</span> is most fascinating. If ‘pittoresque’ is a useful qualification to describe abstract soundworks, I would like to use it in the case. An intriguing work. It is a vocal dominated work, sparsely instrumented and completed by noises, sounds and field recording. All five players sing and play (accordion, percussion, flutes, sax, objects, etc.). Most texts are by <span class="ind">H&eacute;tu</span> herself, plus some by Cavafy, Shakespeare, Cechov and Caille, all in translated in French. But this was not limiting my experience of this piece, like some of her earlier work. Most texts are spoken, performed, sung and everything in between. The whole is made up of 21 small pieces, each with its own dramatic and musical quality.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Something in the Air. Liberation of the Unaccompanied Bass Solo</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4909</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4909</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-05-01T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/et_18/" title="Ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/et_18.jpg?width=160&forceresize=1" class="catimg" alt="Ailleurs" title="Alexandre St-Onge: Ailleurs" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Ken Waxman

    
      <i>in</i> <a class="out" href="http://www.thewholenote.com/">The WholeNote</a> #18:8 (Canada), May 1, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “The achievement of <span class="t">Ailleurs</span> is that by mutating its intonation and freeing the bass from its limitations as a purely rhythmic instrument a new interface appears.”
            
          
        
          
            <p>Of all the instruments that needed the advances of free music in the 20th century to show off its true character, it has been the double bass which benefitted most from this situation. Relegated to decorative, scene setting or mere rhythmic functions in conventional classical and jazz performances, it was only when bassists were able to express themselves without restraint that their role grew. By the 21st century in fact, solo bass recitals became as commonplace as those by other instrumentalists. The reason, as these CDs demonstrate, is the arrival of performers who can extract a multiplicity of novel tones, timbres and textures from four tautly wound strings. (…)</p> <p>If Jones’ electronic interface is limited, Montreal-based <span class="ind">Alexandre St-Onge</span> and Norwegian-in-Austin Ingebrigt H&aring;ker Flaten draw more textures to their finger tips by utilizing amplified electric basses on their solos sessions. A member of bands such as <span class="ind">Klaxon Gueule</span>, as well as studying for his PhD in art, <span class="ind">St-Onge</span> describes himself as a sound performer and the six selections on <span class="t">Ailleurs</span> (&records ET18 etrecords.net) are studded as much with signal-processed drones and splutters as reflective string modulations. Layering the sequences with loops that replicate sounds ranging from ring-modulator whooshes to bell ringing and distorted flanges, the basic double bass-like rhythmic qualities of the instrument are muted. Only on the fifth track does the tremolo, dial-twisting exposition pull back enough for a semi-acoustic interlude. Here juddering bass-string plucks can be heard contrapuntally advancing the narrative, which is still decorated with additional droning lines and wiggling voltage-affiliated cries. The achievement of <span class="t">Ailleurs</span> is that by mutating its intonation and freeing the bass from its limitations as a purely rhythmic instrument a new interface appears. The reverberating result is of an expansive formula that evocatively builds on expected bull fiddle timbres the way a realistic photograph could be the basis for a surrealistic art. (…)</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Listening Diary</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4901</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4901</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-04-25T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_016/" title="Ar&ocirc;mes d’ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/mam_016.jpg?width=160&forceresize=1" class="catimg" alt="Ar&ocirc;mes d’ailleurs" title="Bomata: Ar&ocirc;mes d’ailleurs" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Fran&ccedil;ois Couture

    
      <i>in</i> <a class="out" href="http://blog.monsieurdelire.com/2013/04/2013-04-2526-koji-asano-perelmanshipp.html">Monsieur D&eacute;lire</a> (Qu&eacute;bec), April 25, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “<span class="ind">Mailloux</span>’s music keeps gaining in sophistication”
            
          
        
          
            <p> [Translation] <span class="ind">Bomata</span> is Montreal-based doublebassist <span class="ind">Jean-F&eacute;lix Mailloux</span>’s second trio (the first one being the string trio <span class="ind">Cord&acirc;me</span>). And <span class="t">Ar&ocirc;mes d’ailleurs</span> (“Scents from Abroad”) is the second album, just out, by this trio also featuring clarinettist <span class="ind">Guillaume Bourque</span> (of <span class="ind">Sagapool</span>) and percussionist <span class="ind">Patrick Graham</span>. <span class="ind">Mailloux</span>’s music keeps gaining in sophistication, borrowing elements from India, Asia, and Northern Africa to feed his taste for non-obvious melodies. <span class="ind">Graham</span>, a master of the frame drum, anchors these borrowed elements in credibility (he is also helped in that regard by <span class="ind">Ziya Tabassian</span> on four tracks). This album shows how thin the line has grown between <span class="ind">Cord&acirc;me</span> and <span class="ind">Bomata</span> — it’s just a matter of instrumentation, since the creative drive and quality of the arrangements are one and the same.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>New Arrival: Arômes d’ailleurs by Bomata</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130419</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130419</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2013-04-19T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_016/" title="Ar&ocirc;mes d’ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/mam_016.jpg?width=160&forceresize=1" class="catimg" alt="Ar&ocirc;mes d’ailleurs" title="Bomata: Ar&ocirc;mes d’ailleurs" /></a>
                      
                      
                      
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    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/mam_016/" class="cat" class="t">Ar&ocirc;mes d’ailleurs</a>
      by <span  class="bio" class="ind">Bomata</span>,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
        
  
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<li class="radio" id="radio-cat_mam_016">
  <a href="http://www.actuellecd.com/en/radio/?poste=cat_mam_016" class="radio"><img src="http://www.actuellecd.com/res/element/btn-play.png" />
Ar&ocirc;mes d’ailleurs</a>
</li>


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    <item>
      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4904</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4904</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-04-19T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_016/" title="Ar&ocirc;mes d’ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/mam_016.jpg?width=160&forceresize=1" class="catimg" alt="Ar&ocirc;mes d’ailleurs" title="Bomata: Ar&ocirc;mes d’ailleurs" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Yves Bernard

    
      <i>in</i> <a class="out" href="http://www.ledevoir.com/">Le Devoir</a> (Qu&eacute;bec), April 19, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Le trio montr&eacute;alais transporte… sur les rythmes qui s’animent entre le jazz, la M&eacute;diterran&eacute;e et l’Orient.”
            
          
        
          
            <p>C’est comme la trame d’un film int&eacute;rieur, une suite sonore bellement &eacute;vocatrice de paysages imaginaires qui rappellent pourtant des g&eacute;ographies, des &eacute;tats d’esprit, des modes et des &eacute;pices. Sous la direction du compositeur contrebassiste <span class="ind">Jean F&eacute;lix Mailloux</span>, le trio montr&eacute;alais transporte plus qu’il ne brasse, &eacute;voque plus qu’il ne dicte, transmet la s&eacute;r&eacute;nit&eacute; m&ecirc;me sur les rythmes qui s’animent entre le jazz, la M&eacute;diterran&eacute;e et l’Orient. La contrebasse est ronde, intense, jou&eacute;e &agrave; l’archet, en pizzicato, multiple. Les clarinettes de <span class="ind">Guillaume Bourque</span> sont enjou&eacute;es, insouciantes ou plus basses pour les profondeurs. Quelques invit&eacute;s ram&egrave;nent au jazz plus dense ou a&eacute;r&eacute;. Et <span class="ind">Patrick Graham</span> remplace maintenant <span class="ind">Ziya Tabassian</span> aux percussions. Il joue parfois avec lui. Multipercussions atmosph&eacute;riques ou rythmiques aux nombreux petits effets chez le premier, tr&egrave;s grande finesse chez le second.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4902</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4902</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-04-01T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_016/" title="Ar&ocirc;mes d’ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/mam_016.jpg?width=160&forceresize=1" class="catimg" alt="Ar&ocirc;mes d’ailleurs" title="Bomata: Ar&ocirc;mes d’ailleurs" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Dave Sumner

    
      <i>in</i> <a class="out" href="http://www.emusic.com/17dots/topics/dave-sumners-jazz-picks/">Dave Sumner’s Jazz Picks</a> (USA), April 1, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “A terribly enjoyable album. Find of the Week.”
            
          
        
          
            <p><span class="ind">Bomata</span>, <span class="t">Ar&ocirc;mes d’ailleurs</span>: A trio of clarinet, percussion and bass, with some guest spots on piano and additional percussion. Music that’s a little bit moody, a little bit buoyant. Clarinet is an instrument that can turn on a dime… one second a bright and sunny disposition, the next one of melancholic doom. A terribly enjoyable album. Find of the Week.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4903</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4903</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-04-01T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/mam_016/" title="Ar&ocirc;mes d’ailleurs"><img src="http://www.electrocd.com/res/image.php/couv/mam_016.jpg?width=160&forceresize=1" class="catimg" alt="Ar&ocirc;mes d’ailleurs" title="Bomata: Ar&ocirc;mes d’ailleurs" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    By Christophe Rodriguez

    
      <i>in</i> <a class="out" href="http://www.sortiesjazznights.com/">Sorties Jazz Nights</a> (Qu&eacute;bec), April 1, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “Que voil&agrave; un beau cadeau estival qui fleure bon le jazz, les voyages et certaines saveurs &eacute;pic&eacute;es.”
            
          
        
          
            <p>Que voil&agrave; un beau cadeau estival qui fleure bon le jazz, les voyages et certaines saveurs &eacute;pic&eacute;es. Si vous aimez t&acirc;ter de la casserole ou vous sentez l’&acirc;me d’un Bocuse, glisser tout de go cette nouveaut&eacute; dans votre lecteur. Judicieux contrebassiste, fin connaisseur des harmonies, le contrebassiste <span class="ind">Jean F&eacute;lix Mailloux</span> &agrave; concocter avec <span class="ind">Bomata</span>, un joli voyage qui vos fera oublier les vicissitudes du quotidien.</p> <p>Avec des compositions aussi all&eacute;chantes que: <span class="w">Cardamone</span>, <span class="w">S&eacute;same</span>, <span class="w">Chinoiseries</span>, <span class="w">Cumin</span> ou <span class="w">Safran</span>, nous nous &eacute;vadons lentement vers un monde meilleur. Autour de ce «ma&icirc;tre es fourneaux», le percussionniste <span class="ind">Patrick Graham</span> et le tr&egrave;s bon clarinettiste basse <span class="ind">Guillaume Bourque</span>.</p>
          
        
  
        
      
    
    
    
  


                  
                
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    <item>
      <title>Et plus de 400 concerts plus tard…</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4890</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4890</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-03-23T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                      
                      
                        
                          
                        
                          <a href="http://www.actuellecd.com/en/bio/quatuorbozzini_/discog/" title="Bozzini Quartet"><img src="http://www.electrocd.com/res/image.php/photo/quatuorbozzini_.6655.jpg?width=250&height=250" /></a>
                        
                      
                    </p>
                  
                  
                  
                    
  
    By H&eacute;l&egrave;ne Roulot-Ganzmann

    
      <i>in</i> <a class="out" href="http://www.ledevoir.com/culture/musique/373693/et-plus-de-400-concerts-plus-tard">Le Devoir</a> (Qu&eacute;bec), March 23, 2013
    
  

  

  
    
      
        <h2>Text</h2>
      
        
          
            
              “… et se lancent dans la musique nouvelle, contemporaine, exp&eacute;rimentale.”
            
          
        
          
            <p>Une belle reconnaissance pour la musique nouvelle, contemporaine et exp&eacute;rimentale que fut la mise en nomination du <span class="ind">Quatuor Bozzini</span>.</p> <p>Parmi tous les finalistes de ce 28<sup>e</sup> Grand Prix du Conseil des arts de Montr&eacute;al, le <span class="ind">Quatuor Bozzini</span> fait sans doute figure de Petit Poucet. Moins connu du grand public, moins visible dans les m&eacute;dias… Il faut dire qu’il &eacute;volue dans un domaine, la musique contemporaine, qui reste une niche dans le paysage artistique.</p> <p>Presque quinze ans que le <span class="ind">Quatuor Bozzini</span> prom&egrave;ne ses archets tout autour de la plan&egrave;te… L’aventure commence au tournant de l’an 2000. Les deux soeurs Bozzini, form&eacute;es &agrave; la musique classique, baroque, romantique, s’entourent finalement de deux acolytes et se lancent dans la musique nouvelle, contemporaine, exp&eacute;rimentale.</p> <p>«Jeune, j’allais voir quelques concerts contemporains, raconte la violoncelliste <span class="ind">Isabelle Bozzini</span>, mais je l’ai surtout d&eacute;couverte lors de ma ma&icirc;trise &agrave; l’Universit&eacute; de Montr&eacute;al. Parce que je voulais conna&icirc;tre la musique de mon &eacute;poque. Finalement, je me rends compte que c’est comme une seconde nature. C’est un v&eacute;ritable d&eacute;fi parce qu’il y a toute une tradition &agrave; cr&eacute;er, des liens &agrave; tisser entre les cr&eacute;ateurs et les interpr&egrave;tes. Un d&eacute;fi parce qu’il y a toute une &eacute;ducation &agrave; faire, un travail de missionnaire &agrave; mener, d&eacute;mystifier, tenter de convaincre que la musique contemporaine n’est pas plus difficile qu’une autre &agrave; appr&eacute;hender, qu’elle n’est pas plus c&eacute;r&eacute;brale, pas plus d&eacute;sagr&eacute;able… Il y a eu beaucoup de d&eacute;sinformation autour de la musique contemporaine, on a dit que <span class="ind">John Cage</span> &eacute;tait un fumiste… Et pourtant, les gens en &eacute;coutent tr&egrave;s souvent sans le savoir, via la musique de film, par exemple…»</p> <h2>Concerts et cr&eacute;ations</h2> <p>Depuis ses d&eacute;buts, le <span class="ind">Quatuor Bozzini</span> a pr&eacute;sent&eacute; 416 concerts &agrave; Montr&eacute;al, au Canada et partout ailleurs dans le monde. Il a enregistr&eacute; pr&egrave;s de 20 disques, certains sous sa propre &eacute;tiquette, a effectu&eacute; une trentaine de tourn&eacute;es, visit&eacute; plusieurs festivals internationaux prestigieux et obtenu de nombreux prix.</p> <p>Pr&egrave;s de 200 nouvelles œuvres ont &eacute;t&eacute; &eacute;crites pour lui par les plus grands compositeurs du moment. Partout o&ugrave; il se produit, on le loue pour sa virtuosit&eacute; et son audace exceptionnelles, certains journalistes &eacute;trangers le voyant m&ecirc;me comme l’un des tout meilleurs quatuors de musique nouvelle. Mais, s’il donne des r&eacute;citals parfaitement interpr&eacute;t&eacute;s, il se d&eacute;marque &eacute;galement par son originalit&eacute;, chacune de ses repr&eacute;sentations ne ressemblant jamais exactement &agrave; la pr&eacute;c&eacute;dente, et par son d&eacute;sir d’abattre les fronti&egrave;res entre les disciplinaires.</p> <p>Il n’est pas rare qu’il travaille avec des artistes issus d’autres disciplines et qu’il int&egrave;gre ainsi de la vid&eacute;o, de la danse ou du th&eacute;&acirc;tre dans ses cr&eacute;ations. «On est un peu fou, je l’admets, avoue <span class="ind">Isabelle Bozzini</span>. On aime se mettre en danger. Le quatuor &agrave; cordes permet &ccedil;a. Je ne me voyais pas &ecirc;tre soliste, je ne me voyais pas non plus &ecirc;tre une parmi tant d’autres &agrave; l’int&eacute;rieur d’un orchestre symphonique. Le quatuor est tr&egrave;s exigeant, il nous oblige &agrave; prendre nos propres d&eacute;cisions musicales et autres. Violon, alto, violoncelle, c’est presque le m&ecirc;me instrument, si l’un d’entre nous n’est pas totalement juste, c’est affreux… Mais quand on est tous dedans, c’est fabuleux!»</p> <h2>Qualit&eacute;s ind&eacute;niables</h2> <p>Si les qualit&eacute;s artistiques des quatre membres du quatuor sont ind&eacute;niables, leurs qualit&eacute;s humaines le sont &eacute;galement. Depuis 2004, ils produisent un atelier original de formation professionnelle, le Composer’s Kitchen, afin de mettre en relation les compositeurs reconnus et ceux de la rel&egrave;ve, mais &eacute;galement les compositeurs et les interpr&egrave;tes. Classes de ma&icirc;tre, r&eacute;sidences et performances… Depuis 10 ans, pr&egrave;s de cinquante jeunes compositeurs ont pris part &agrave; cet atelier de recherche et d&eacute;veloppement implant&eacute; &agrave; Montr&eacute;al, mais aujourd’hui &eacute;galement pr&eacute;sent &agrave; Vancouver et au Royaume-Uni.</p> <p>Un quatuor d&eacute;vou&eacute; pour sa ville et sa collectivit&eacute;, un quatuor qui accueille cette nomination au Grand Prix comme une v&eacute;ritable surprise et une occasion de se faire mieux conna&icirc;tre dans sa propre ville. Une occasion de visibilit&eacute; &eacute;galement pour toute la sc&egrave;ne montr&eacute;alaise qui gravite autour des musiques nouvelles…</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: Revue &amp; corrigée #95 by Various artists</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130322</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130322</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2013-03-22T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.actuellecd.com/en/cat/rc_95/" title="Revue & corrig&eacute;e #95"><img src="http://www.electrocd.com/res/image.php/couv/rc_95.jpg?width=160&forceresize=1" class="catimg" alt="Revue & corrig&eacute;e #95" title="Various artists: Revue & corrig&eacute;e #95" /></a>
                      
                      
                      
                    </p>
                  
                  
                  
                    
  
    
    
  

  
    <p>
      
      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/rc_95/" class="cat" class="t">Revue & corrig&eacute;e #95</a>
      by Various artists,
      
      
      the latest addition to our shop.
    </p>
  

  

  
    
    

    
      
    
  


                  
                
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    <item>
      <title>Critique</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4880</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4880</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-03-07T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/mam_015/" title="Lieux imagin&eacute;s"><img src="http://www.electrocd.com/res/image.php/couv/mam_015.jpg?width=160&forceresize=1" class="catimg" alt="Lieux imagin&eacute;s" title="Cord&acirc;me: Lieux imagin&eacute;s" /></a>
                      
                      
                      
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    By R&eacute;jean Beaucage

    
      <i>in</i> <a class="out" href="http://www.voir.ca/fiches/cd/cordame-lieux-imagines/">Voir</a> (Qu&eacute;bec), March 7, 2013
    
  

  

  
    
      
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              “C’est pour ce troisi&egrave;me disque que le trio <span class="ind">Cord&acirc;me</span> a &eacute;t&eacute; r&eacute;compens&eacute; par le prix Opus du «disque de l’ann&eacute;e — musiques du monde»”
            
          
        
          
            <p>C’est pour ce troisi&egrave;me disque que le trio <span class="ind">Cord&acirc;me</span> a &eacute;t&eacute; r&eacute;compens&eacute; par le prix Opus du «disque de l’ann&eacute;e — musiques du monde», un enregistrement o&ugrave; le trio se pr&eacute;sente &agrave; nous en toute simplicit&eacute;, sans invit&eacute;s sp&eacute;ciaux. C’est bien une «musique du monde» imaginaire qu’il nous offre ici, et de Madrid &agrave; la Cit&eacute; interdite, en passant par Vancouver, le contrebassiste et compositeur <span class="ind">Jean F&eacute;lix Mailloux</span> nous fait visiter des lieux o&ugrave; il n’a lui-m&ecirc;me jamais mis les pieds. Le violon (<span class="ind">Marie Neige Lavigne</span>) et le violoncelle (<span class="ind">Julie-Odile Gauthier-Morin</span>) sont nos guides, que l’on suit d’un pas l&eacute;ger en tanguant au rythme de la contrebasse. <span class="ind">Cord&acirc;me</span> invite le pianiste <span class="ind">Fran&ccedil;ois Bourassa</span> pour un concert &agrave; L’Astral ce samedi 9 mars.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Les loups ont faim</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4917</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4917</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-03-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/victo_124/" title="Victoriaville mai 2011"><img src="http://www.electrocd.com/res/image.php/couv/victo_124.jpg?width=160&forceresize=1" class="catimg" alt="Victoriaville mai 2011" title="Merzbow, Richard Pinhas, Wolf Eyes: Victoriaville mai 2011" /></a>
                      
                      
                      
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    By Fran&ccedil;ois Samson-Dunlop

    
      <i>in</i> <a class="out" href="http://douzepouces.com/wordpress/?s=les+loups+ont+faim">tout va bien</a> #12 (Qu&eacute;bec), March 1, 2013
    
  

  

  
    
      
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              “La strat&eacute;gie est parfaite. La proie n’a aucune chance. Les loups ont faim, et pire encore, ils ont le go&ucirc;t de s’amuser un peu.”
            
          
        
          
            <p>La strat&eacute;gie est parfaite. La proie n’a aucune chance. Les loups ont faim, et pire encore, ils ont le go&ucirc;t de s’amuser un peu. <span class="ind">Richard Pinhas</span> est confortablement assis au milieu du mur de son. Le vieux guitariste fran&ccedil;ais semble calme, il inspire une certaine confiance. La proie se sent donc invit&eacute;e. &Agrave; sa droite veille <span class="ind">Merzbow</span>. Le bruitiste de 55 ans semble fig&eacute;e. Respire-t-il? Est-ce un robot? Non, un robot n’oserait jamais nous proposer si gentiment une certaine id&eacute;e de la peur. &Agrave; l’extr&ecirc;me gauche, le guet. Le trio am&eacute;ricain <span class="ind">Wolf Eyes</span> se l&egrave;che les babines &agrave; grand coups de sur-amplifications &eacute;lectriques. Sous leurs lunettes fum&eacute;es uniformes, leur regard ne fait plus qu’un, parfois, amalgamant m&ecirc;me celui de <span class="ind">Merzbow</span>. Le trio jappe. Par moments, &agrave; coup de paroles indescriptibles lanc&eacute;es par <span class="ind">Nathan Young</span>, par d’autres, sous le fouet tranchant du saxophone alto de <span class="ind">John Olson</span>. De ce que l’on qualifiait de proie ne reste qu’une victime du barrage de sons qui fut. Qui re&ccedil;oit une si belle mort, ne peut-il qu’esp&eacute;rer la fin des temps? Mais voil&agrave;, la b&ecirc;te ne tue pas: elle ne lance qu’une invitation &agrave; la prochaine hantise.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>New Arrival: Annunciations by Fortner Anderson</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130219</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=catalogue-20130219</guid>
      <author>web@electrocd.com</author>
      <category>New Releases</category>
      <pubDate>2013-02-19T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/lbe_ann/" title="Annunciations"><img src="http://www.electrocd.com/res/image.php/couv/lbe_ann.jpg?width=160&forceresize=1" class="catimg" alt="Annunciations" title="Fortner Anderson: Annunciations" /></a>
                      
                      
                      
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      We suggest you check out
      
      <a href="http://www.actuellecd.com/en/cat/lbe_ann/" class="cat" class="t">Annunciations</a>
      by <a href="http://www.actuellecd.com/en/bio/anderson_fo/discog/" class="bio" class="ind">Fortner Anderson</a>,
      
      
      the latest addition to our shop.
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      <title>Review</title>
      <link>http://www.actuellecd.com/en/select/blogue/?id=press-4864</link>
      <guid>http://www.actuellecd.com/en/select/blogue/?id=press-4864</guid>
      <author>web@electrocd.com</author>
      <category>Press</category>
      <pubDate>2013-02-13T00:00:00-06:00</pubDate>
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                        <a href="http://www.actuellecd.com/en/cat/cmccd_17412/" title="Still Image"><img src="http://www.electrocd.com/res/image.php/couv/cmccd_17412.jpg?width=160&forceresize=1" class="catimg" alt="Still Image" title="Owen Underhill: Still Image" /></a>
                      
                      
                      
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    By David Dies

    
      <i>in</i> <a class="out" href="http://www.icareifyoulisten.com/2013/02/still-image-chamber-music-of-owen-underhill/#more-6471">I Care if You Listen</a> (USA), February 13, 2013
    
  

  

  
    
      
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              “Taken as a whole, this CD presents a solid compositional voice from <span class="ind">Underhill</span> and showcases excellent musicians”
            
          
        
          
            <p>In many ways, this is an intimate recording of intimate music. <span class="t">Still Image</span> is a recording of two quartets and two quintets, which brings the obvious intimacy of chamber music. It is recorded and mastered to sound like a salon, giving the players a real presence and immediacy. These intimacies compliment <span class="ind">Owen Underhill</span>’s music, which draws the listener into intimate spaces made up of almost familiar gestures balanced against ear-catching and varied glimpses outside those expectations, by way of pitches, timbres, or harmonies.</p> <p>New music fans may know <span class="ind">Owen Underhill</span> as the artistic director of Vancouver New Music from 1987-2000 or, more recently, as co-artistic director of Vancouver’s <span class="ind">Turning Point Ensemble</span>. This CD presents four works by <span class="ind">Underhill</span>, a string quartet (2011), a clarinet quintet (2007/11), an older string quartet (1998), and a trombone quintet (1999). The CD is anchored by the <span class="ind">Quatuor Bozzini</span>, a renowned quartet based out of Montreal with an extensive and impressive track record in North America, Europe and beyond. The quartet is joined by clarinetist <span class="ind">Fran&ccedil;cois Houle</span> and trombonist <span class="ind">Jeremy Berkman</span>.</p> <p>The CD opens with <span class="w">String Quartet #4</span> “The Night,” which was commissioned by the <span class="ind">Bozzini Quartet</span> for the recording. This is my favorite work on the album—a single movement work made up short passages of varied textures punctuated with string harmonics. This quartet evinces the balancing of the almost familiar with restive excursions that hold the ear, but the brevity of the sections brings various manifestations of those tendencies into a prismatic juxtaposition: now scurrying sul pont. gestures over simple pizzicato bass, then an aqueous passage of tremolos and ephemeral lines, then an ascetic chorale, each resolving in turn to the nearly-cadential but equally varied passages of string harmonics. At times evocative of <span class="ind">Bart&oacute;k</span>’s folkloricism, at times fleetingly reminiscent of <span class="w">Black Angels</span>, the work shows a disciplined ear behind the sectional form and kaleidoscopic surface.</p> <p>The clarinet quintet, <span class="t">Still Image</span>, opens with a striking use of the harmonic nodes along a single string on the violin, reminiscent of an Aeolian harp. The clarinet, played by <span class="ind">Fran&ccedil;ois Houle</span> who originally commissioned the work, blends fluidly with the strings. The first movement is infused with elegant, dolorous augmented seconds, giving an impression of a kind of slow, lacquered klezmer. The second movement features a play of timbres in the clarinet, moving into melismatic passages that reminded me of Moroccan sufi music and evolving into a cadenza in the middle of the work with some multiphonics exquisitely handled by <span class="ind">Houle</span>. The third movement is also inventive and restless, concluding with a high, florid meditation among the strings and clarinet.</p> <p><span class="ind">Underhill</span>’s third string quartet, subtitled <span class="w">The Alynne</span>, was composed shortly after the birth of the composer’s daughter, Alynne, and is also a single-movement work. The piece exhibits the strongest folkloric tendencies on the disc, evoking fiddling, a kind of “Appalachian” open sound and furtive appearances of the Aeolian harp. In my notes on the work, I jotted “like Copland crossed with the Kronos [Quartet] catalog,” and while that scribble draws on caricatures of <span class="ind">Copland</span> and Kronos, it transmits an accurate impression of the sonic palette in the work. Even here, within these seemingly familiar sounds, <span class="ind">Underhill</span> surprises the ear with pitches and timbres that perturb the prevailing background. There is an exquisite viola solo in the middle of the first third of the piece. Like the fourth quartet, the middle third of the piece is bookended with sine-wave-like harmonics.</p> <p>The last work is the <span class="ind">Trombone Quintet</span> from 1999. Here, the soloist is <span class="ind">Jeremy Berkman</span>, the trombonist who originally commissioned the work. The first three movements maintain a single mood throughout: the first movement presents elegiac trombone lines over a chorale in the quartet; the second offers light and playful string lines with the trombone played with what sounds like harmon mute with plunger, creating a kind of “mouth harp” effect, which is often paired with quiet humming or singing for (I suspect) the trombonist; the third returns to a hymn-like texture in the strings with the trombone uttering elegies among them. The fourth movement foreshadows <span class="w">String Quartet #4</span> in some ways, constructed from shorter passages that are juxtaposed in succession. However, the later quartet displays a confident economy and a playfulness only hinted at in the trombone quintet. This work, like the third quartet that immediately precedes it on the disc, ends quietly with string harmonics and with a (perhaps signature) Aeolian-harp effect.</p> <p>Taken as a whole, this CD presents a solid compositional voice from <span class="ind">Underhill</span> and showcases excellent musicians out of Canada. Listeners who are excited mainly by timbral invention will probably find the disc a bit staid, but they would be missing the point: <span class="ind">Underhill</span> is clearly more interested in an intimate palette of pitch and formal exploration, of endlessly teasing the expectations of pitch and sometimes timbre established by almost-familiar gestures and pitch schemes. If I had any complaint, it would be that presenting the four works together brings out a proclivity for high string harmonics, which becomes slightly taxing when listening to the entire CD, but we all have ticks that are exposed when our works are presented in a concentrated dose. As this is the first review of either <span class="ind">Quatour Bozzini</span> or <span class="ind">Owen Underhill</span> on this blog, this CD serves as an engaging and beautiful introduction to their work and I look forward to hearing more from both of them.</p>
          
        
  
        
      
    
    
    
  


                  
                
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