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Reviewpar Tobias V in Incursion Music Review #049 (Canada), 31 mars 2002 |2028|
«A succinct and playful album of experimental madness which… does not force the
listener into obscurity.»
Beginning with crackled sound, almost abrasive and entirely disruptive, Labrosse and Tétreault shake the listener into thinking that one is listening to a new work by the electroacoustic duo Interface. But things take an entirely different turn within seconds, and interspersing the sound-cackle-crackles with silence leads the listener to humming and resonating melancholic spaces that can only be properly described as underwater caverns. In these caverns are Cave People; and they are composing music. It is a peaceful time, and by the time track 5, sponger, rolls around — these are very short tracks, all about two minutes or so in length, except for track 11, a coal eye, which is 10 minutes — I am fully immersed in the sketches of sound which paint a visual aura to the impressively wide range of experimentation found from track to track. For example, track 6, insomnia of a bed-bug, disrupts underwater-land and introduces radio static-hum which, in a playful mood, dances with the clicks of a clock. That the elements are cavorting with each other should come as no surprise, for like Interface, Tétreault and Labrosse are a live improv duo; but unlike Interface, they manage to maintain my interest by moving through different phases of sound as well as conceptual environments, easily handling slight noise and static, tones, hums, and clicks. Labrosse, according to the liner notes, works solely with “abstract elements.” I am not sure what the entails in terms of gear, the hazy blue picture of the duo leaves the details indiscernible. Tétreault works directly with turntables: no records, just manipulating the sounds to be found in the decks themselves. Given this palette, both Tétreault and Labrosse manage to construct a dramatic and engaging topology of sound which, for the most part, is in the experimental ambient genre, and in moves of inspired stage magic, know exactly when to end a sound that has lost its ability to engage the listener. A succinct and playful album of experimental madness which, despite — and perhaps because of — its overwhelming undertones of intelligence, does not force the listener into obscurity.
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Reviewpar Bas Ickenroth in Kindamuzik (Pays-Bas), 2 février 2002 |2144|
«When at first the soundscape tends to float by leaving anything lasting, at a certain
moment you're just getting into it, and you'll slowly be sucked in the electronic swamp.»
Turntablism that has absolutely nothing to do with hiphop. These soundconstructions come from the comunity around the Ambiances Magnétiques label, and that information ought to be enough to start some serious drooling on the avant-garde fanatics, such as myself. Diane Labrosse and Martin Tétrault are the soundsculptors on the Parasites album, and their tool, among modern electronic equipment and other toys, is the turntable. Not that it can be identified as such. But there are more unidentifiable aspects: where is the melody? Where is the songstructure? Where ends one track and begins another? The answer to all three: unknown. This completely improvised electronic soundscape varies in atmosphere and texture and does this without adding any kind of melody or structure. And why they bothered to cut things up into 15 tracks and name each track in both English and French as well, we'll probably never know. I could mention that Bad Amoeba sounds like this and Stop Interfering! like that, but why? The sonic exploration goes by continuesly, without pauses. This adds to the hypnotic effect the music surprisingly has. When at first the soundscape tends to float by leaving anything lasting, at a certain moment you're just getting into it, and you'll slowly be sucked in the electronic swamp. And although there is a complete absence of melody or even a steady and comfortable drone, that swamp is far from unpleasant.
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Raretés frétillantes d’hier, d'aujourd’hui et de demainpar Frank Mallet |2804|
«Tout y passe dans un delirium sauvage…»
Dans Parasites, Diane Labrosse échantillonne en direct le tournedisque de son compère Martin Tétreault. En apparence, tout se passe aux frontières du silence-un peu dans l’esprit des Nantais de Formanex-, mais avec une excitation folle… D’ailleurs, tout vibre avec une intense frénésie: coups bas de ronflements électriques dans le grave, «gratouille» sibylline de fils déconnoctés, vols d’insectes mécaniques, déchaînement de fritures incontrôlées, pulvérisation d’organes mous, massacre d’interrupteurs, etc. Tout y passe dans un delirium sauvage que ne renierait pas Fred Frith, «ancien» maître du genre et lui aussi grand agitateur d’objets sonores. Ces Canadiens sont dérangés, et en plus ils font rire!
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Reviewpar Dolf Mulder in Vital (Pays-Bas) |2104|
«Interesting and of high musical quality as always…»
“How do you 11 people improvise without having chaos result?,” askes Derome himself here. He took the experience of canoe camping as a metaphor and poetic springboard for an creative meeting between 11 improvisors. What he likes about canoe camping is the uncertainty of the surroundings. Will nature tame us, or do we tame nature? In 21 pieces the musicians took their inspiration by different aspects of canoe camping. Derome derived some 60 gestures from the canoe experience that functioned as signs in the musical process. This results in pieces that are very different in nature. Together they make up an interesting expedition into the field of improvised and composed new music. Interesting and of high musical quality as always, some pieces sound very abstract (improvised?), others are some nice little tunes (composed?). The liner notes end up in the following question: “do we tame noise, or does noise tame us?” During 2001 Hétu and Derome recorded another duo-album. The cd consists of songs, some were written by Hétu others by Derome. Both sing and play sax on this one. Derome also used a selection of his huge collection of a little wind instruments. Most pieces have Derome and Hétu singing (texts written by themselves). The music is very expressive, down to earth and simple and underline the message of this cd: La vie, c’est simple. The cooperation between Martin Tétreault and Diane Labrosse is no way comparable. The music here is very abstract. In a way this is even the case for the instruments they use. Tétreault plays pick-ups without records, using only the intrinsic sound possibilities. Labrosse plays ‘échantillonneur’ as you know what I mean? A ‘échantillonneur’ is someone who takes examples or specimen of something. Sorry, but I cannot be more clear about this. She works with abstract elements. This one is for the hardcore lovers of concrete noise. actuellecd.com Diane Labrosse, Martin Tétreault: Parasites: critiques |
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