Si la radio n’apparaît pas, c’est que vous n’avez pas installé Flash ou que votre version n’est pas à jour. Vous devez également activer Javascript.
Dans la lignée de la musique bruitiste, voici des artistes qui font du son une matière à sculpter. Jean-Pierre Gauthier est du nombre. Sur son disque Machines consentantes et Hachures (1999/2000), on entend le son de percussions mécanisées, de flûtes et appeaux automatisés, de tôle de garage vibrante et d’interférence radio tout à fait audible. Ce sculpteur d’instruments bricolés travaille parfois en tandem avec Mirko Sabatini. Mais avec son CD intitulé MK. Orchestrin, le batteur italien s’est offert un disque solo où s’entend avec plaisir le fruit d’une longue recherche sur le son et la mécanique de l’instrument. Martin Tétreault est lui aussi un artiste du son que l’on croise régulièrement dans le milieu des arts visuels. Un de ses nombreux disques fut réalisé avec le Japonais Yoshihide Otomo. Dans 21 situations (AM 069), ils ont manipulé autrement que les DJs des tourne-disques produisant ainsi une rencontre sonore inusitée.
blogue@press-2052
press@2052
Released in 1999, Martin Tétrault and Otomo Yoshihide’s 21 situations documents 21 short improvisations for turntables (with and without treatments on the needles and vinyl), sampler and CD. Both Tétrault and Yoshihide are quite well known for both their innovation and daring in the improvisational community, and especially so when it comes to the turntable. Recorded in 1997, these 21 short (never much longer than 4 minutes, but most between 1-2 minutes long) deal with various themes that determine their titles: cartoon, science-fiction, conflagration, chant, jungle, chaos, tension, etc. Satellite, for example, has an eerie cosmic-like sound; cartoon is playful; and chant contains a strange human-made squawking. The mood of this disc is really quite playful, and even though there are some dips into darker themes and sounds, the over-all feeling is one of spontaneous experimentalism. Scratches, scrapings, loops, sharp cut-ups and collage work, grating textures of the needles on treated vinyl, and short glimpses of what the original records may have sounded like are the elements that keep you on your toes throughout the entire recording. Keeping the tracks short is a wonderful exercise for improvisers since it enforces a constraint on their process, an artificial compulsion to compress their language down to its essential elements, charged with meaning and energy. The effects on the listener of this compressed language is another matter, though. An immensely energetic and frantic release, and in spite of the unease it causes in my temperament, it still captures by interest and curiosity.
blogue@press-1560
press@1560
This encounter between two of the leading turntablists of the avant-garde was meant to be. It happened in Montréal Martin Tétreault’s territory), December 1997. Japanese pioneer Otomo Yoshihide ex Ground Zero performs on turntables, sampler and CDs. Tétreault uses his arsenal of pick-ups, prepared records and prepared needles. They recorded 21 short improvisations (maximum duration : three and a half minutes) on specific themes, ranging from traditional music to cartoon, from science-fiction to education. This working method allowed them to concentrate their efforts on a few selected sound sources for a short period of time. It resulted in sharply focused pieces summarizing the techniques and art of both musicians. Humor is always a key aspect of Tétreault’s work and it is well represented here, especially in Science-fiction where the "spacy" analog synthesizer sounds he dug out are assembled into a melody very close to "Somewhere over the Rainbow". The listener’s attention has no time to wander off. Recommended.
blogue@press-2939
press@2939

blogue@press-1404
press@1404
Martin Tétreault, Canadien timide, préfere profiter de sa collaboration avec Otomo Yoshihide, pour scratcher plus que de raison tandis que ne viennent le pertuber que quelgues rares citations. Tétreault, on a pu le voir sur scène, a tendance a jouer au tennis avec des bras de platines, le nez collé au rond central. Cette vision différente de la musique, entre Dee Nasty et Marcel Duchamp, signe ici son plus grand méfait: celui d’envisager autrement l’art de composition. A découvrir, les oreilles curieuses.
blogue@press-1584_002
press@1584_002
21 situations finds Yoshihide on more familiar territory, alongside French-Canadian turntable abuser Tétreault, banging out 21 short, radiofriendly slabs of surface noise, technical detritus and musical dementia. All tracks are under four minutes, and the approach is as varied as the subject matter (e. g. cartoon, machine, tension, science fiction). And it’s not just scratching; those drum sounds you hear from time to time are not samples but the players drumming on the turntables. Familiarity with technology has bred contempt, which has in turn bred imaginahon and adventure. This is gamelan for the 21st Century A fine example of revolutionary improv.
blogue@press-1120
press@1120
Aussi disponible en format numérique (MP3, etc.) auprès de votre détaillant préféré.