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Reviewpar François Couture in All-Music Guide (ÉU), 1 novembre 2000 |1670| First released on LP in late 1983, Fin du travail (Version 1) documents Montréal guitarist René Lussier’s formative years between the disbanding of the avant-gardist folk-prog outfit Conventum in 1979 and the inception of the record label Ambiances Magnétiques in 1983, something that would generate dozens of releases with Lussier’s name on it for decades to come. Actually, Lussier founded Ambiances Magnétiques with Jean Derome in order to support the release of this album — that’s why it bore the catalog number AM 000, something that stuck when it was reissued on CD in 1996. The seven tracks included on Fin du travail are a chronicle of Lussier’s activities between 1979 and 1983, from the Pouet Pouet Band (“Manifeste”) and André Duchesne’s 1980 project Clockville (“Fête Fatale,” “Clockville”) to the first 1982 Derome-Lussier “Ambiances Magnétiques” concert (“Worksong”). They have been recorded under various conditions and with various musicians but Derome’s presence is the most important. Lussier’s unique sense of humor (well, maybe not so unique since Derome shares it) can already be experienced in the album title: “End of Work (Version 1)” — if it’s finished, why call it “version 1”? — and his carnivalesque references heard in Fête fatale. This aspect of his work, which will develop considerably within his duo Les Granules with Derome, is presented in full contrast with his more serene, soft and textural folk approach inherited from his days with Conventum and the cinematic quality of his writing, the result of numerous soundtracks written for documentaries. The acoustic guitar is more important than the electric and he even plays mandolin on one track. From complex prog rock-derived numbers to avant-folk atmospheres and circus numbers, Fin du travail was the work of a man searching for new means of expression, a quest that would become easier with the creation of Ambiances Magnétiques and his encounter in 1986 with Fred Frith.
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Critiquepar A R in Octopus #6 (France), 1 avril 1997 |1439_001|
«C’est incroyable comme ses compositions faites de séquences et d’orchestres
forment un monde cohérent, en dépit du nombre exponentiel d’idées qui traversent ce
disque.»
Vous rêvez de découvrir un compositeur mélant dérision, inventivité et sens de l’orchestration. Vous êtes prêt a passer une petite annonce utopique pour trouver quelqu’un répondant à ce profil rare: un inclassable aux idées larges et au style unique. Vous alliez même engager un chasseur de têtes… êcoutez donc René Lussier. Il campe, sur la photo du livret CD, assis sur un banc à côté de son vélo, prêt â partir. Son sourire est malicieux et plein de sympathie. Fin du travail, c’est le titre de son premier album. C’est incroyable comme ses compositions faites de séquences et d’orchestres forment un monde cohérent, en dépit du nombre exponentiel d’idées qui traversent ce disque. Vous aimez Hugues le Bars, Albert Marcoeur, vous attendiez un renouveau chez Comelade, vous aimeriez que la musique contemporaine fuse en éclats de rire. Ecoutez René Lussier qui campe â côté de son vélo!
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Soundcheck Reviewpar John L Walters in The Wire #156 (RU), 1 février 1997 |1438_002| Fin du travail (Version 1) hoovers up some old recordings of theatre music (1980-83) and casts an interesting light on Lussier’s later work. The cues are surprisingly disciplined, with a European flavour and a touch of 1970s art rock played by a medium-sized and relatively low-tech ensemble that again includes Derome. An interesting bit of tapecupboard clearing.
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Las nuevas ediciones de…par Rafa Dorado in Margen #8 (Espagne), 1 décembre 1996 |1434_001| René Lussier protagoniza nada más y nada menos que tres de las nuevas producciones del sello canadiense DAME. La primera es, además, una reedición de su primera obra en Ambiances magnétiques realizada en 1983 y descatalogada desde hace tiempo y que, no sorprendentemente, inicia el catalogo de rcediciones de esta compañía. En Fin du travail, titulo de esta obra, nos encontramos al René de siempre, quizás un poco más alocado que lo que aparenta en sus últimas producciones. Cóctel multigenérico que abarca desde la sugerencia ambiental hasta el ruido, Fin du travail mezcla con furia y volubilidad elementos de la más heterogénea procedencia. Estructuras complejas del R. I. O. , melodias ingenuas, improvisación y mucho humor, casi siempre socarrón, convierten a Fin du travail en un disco prodigioso aunque, debido a la salvaje confluencia de estilos, no apto para paladares sibaritas. Junto a Lussier, que interpreta guitarras, clarinete, bajo y mandolina, están Jean Derome y nueve músicos más. Muy recomendable
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Reviewpar F N in Minimal #13 (Portugal), 13 novembre 1996 |1440| Reedição do primeiro álbum do guitarrista e multi-instrumentista René Lussier, foi tambem a primeira edicão pela etiqueta Ambiances magnétiques, em 1983. É um trabalho elaborado sobre improvisos e rigor, caos e harmonia, alimentado por curiosidades despertas por novas experiêncas e por reencontros com ambientes ja conhecidos, por barulhos fragmentados e por melodias. Feito com prazer e senedade, é um disco certamente a redescobrir com abertura de espirito compativel.
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Spinspar Jim Little in Hour (Québec), 17 octobre 1996 |1431| Fin du travail is a reissue of guitarist René Lussier’s first album (it was also the first release by the independent Montréal-based musique anuelle label Ambiances Magnétique). It features Lussier’s compositions played by a group of musicians that include multi-instrumentalist Jean Derome (who co-composed two of the pieces here), pianist Pierre St-Jak, bassist Pierre Cartier and drummer Mathieu Léger. Highlights include the centrepiece of the record, Manifeste, which ranges in feeling from raw intensity to reverentially reflective meditation, and the wistful, warm and fuzzy Pour toujours tant que ça dure. 3,5/5
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Reviewpar N F in Megafon #1 (Portugal), 1 septembre 1996 |1429| Reedipao do primeiro album do guitarrista e multi-instrumentista René Lussier, foi tambem a primeira edipao pela etiqueta Ambiances magnétiques, em 1983. É um trabaiho elaborado sobre improvisos e rigor, caos e harmonia, alimentado por curiosidades despertas por nvas experiencias e por reencontros com ambientes ja conhecidos, por barulhos fragmentados e por melodias. Feito com prazer e seriedade, e um disco certamente a redescobrir com abertura de espirito compativel.
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Reviewpar F M in Minimal (Portugal) |1436| René Lussier é um guitarrista canadiano da estirpe de Fred Frith que alia uma descomunal mestria técnica a um neo menos descomunal sentido de humor. Fez parte dos Conventum e ajudou a criar omaos, a coisa é séria "Flowers never Cry" é um exemplar, até agora desconhecido, da grande saga de lQucura-que atravessou o ano mágico de 1967, que agora chega para pos torrar o juizo. Os Mystic Astrological sso o produto lancinante emanado da mente de um tal Steve Hoffman e ’Flowers never Cry" uma enxurrada de LSD que levou, na época, algumas outras mentes, nào menos perturbedas, a verem neste quinteto norte-americano um possivel competidor dos Beaties. De facto, sào dois discos num, gravados no mesmo ano de graça de 1967, e as primeiras reacçoes que provocam s30 a incredulidade e o riso. - Nao pode ser. Começa com assobios e prossegue numa pop de brinquedo pela psi país musical da Recommended, hoje tornado um nicho com uma filosofia e estética próprias, imediatamente reconheciveis no panorama da música contemporanea. "Fin du Travail (Version 1)" reúne composiçoes gravadas entre 1979 e 1982 para encomendas e espectáculos vários, de parceria com o saxofonista Jean Derome. Surrealista (ou dada?), desestruturalista, anarquista e iconoclasta, René Lussier glosa a pop, o jaz, a música de variedades, o teatro musical e a improvisaçao com o descaramento de quem, em simultaneo, as domina e as observa, armado da ironia, a distancia. "Fin du travail" passeia-se com um desprendimento apaixonado pelos próprios dom¡nios do paradoxo, pendurando luzes coloridas e "slogans" anacrónicos nas ruinas de Lego amontoadas pelos Henry Cow. Ao contrário do que diz o titulo, um trabalho interminável. (9)
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Critiquein Jazz Notes #22 (Canada) |1435| Notre bonhomme René est guitariste, multi instrumentiste pour le cas, mais aussi compositeur comme il est dit solitaire/solidaire ainsi qu’aventurier, explarateur de régions musicales, funambule, jongleur, architecte de l’incongrue. Il nous propose sept pièces de musique de film avec Jean Derome (fl, cl) et huit musiciens dont Pierre St-Jack (p). Une musique d’atmosphère où les images défilent s’entrechoquent avec humour et tendresse dans une originalité certaine. Une réédition utile pour les cinéphiles, mais aussi ceux qui à travers la musique savent se faire une toile.
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Reviewin Coda Magazine (Canada) |1109_001|
«Lussier plays not for idle listening but rather as a challenge to listeners to enter his
sonic world.»
René Lussier is a guitarist, player of miscellaneous instruments, and composer who deserves an audience. Interested listeners may hear his work on three CDs released by Ambiances magnétiques. He composed everything on Fin du travail (version 1) except for Pour toujours tant que ça dure, on which he collaborated with Jean Derome, Lussier’s partner on this CD which features them in the company of eight other musicians. Here, Lussier’s avant-garde compositions deal mostly with sound. On Clockville, for example, he and Derome attempt variatlons on the ticking of a clock. What results is an unexpected dirge of some sensitivity. At almost thirteen minutes in length, Manifeste is the longest and most ambitious of Lussier’s compositions. As on other pieces, a drone underpins most of this performance as the dominant voices crescendo to a shriek. After the relaxation of tension, the drone continues beneath the spoken words of Lou Babin, as it does under the jaunty conclusion. (I should mention that Worksong bears no resemblance to Nat Adderley’s Work Song) In sum, Lussier plays not for idle listening but rather as a challenge to Iisteners to enter his sonic world. actuellecd.com René Lussier: Fin du travail: critiques |
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