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Radio ›› Live • 33 • 45 • 78
Live • 33 • 45 • 78
1-p45 un (2006), 2m36s [extrait]
CD: Ambiances Magnétiques (2009) AM 191
1 avril 2010
Par Vincenzo Giorgio in Wonderous Stories #17 (Italie), 1 avril 2010

Texte

E’ ciò che emerge dalla poetica evidentemente disturbata e “dadaista” (per non dire parafisica) di Mankind (Ice Machine), vale a dire un incredibile duo femminile che sa muoversi con estrema disinvoltura tra “sospiri ritmici post-wyattiani” (Mile End Throat Singers), elettronica schizzata (Todo que tengo) e psyco-minimalismo à la Comelade (The Anti-Rules).

Ignaz Schick e Martin Tétreault (Live • 33 • 45 • 78) si presenta in un contesto ancora più radicale: quattordici tracce di radicalismo estremo dove i due musicisti si dividono non solo i canali (quello di sinistra Ignaz, a destra Martin) ma anche i marchingegni elettronici.

Nous Perçons Les Oreilles (cioè Jean Derome e Joane Hétu) con Shaman ne rappresentano - invece - il contraltare acustico attraverso dodici tracce inesorabilmente segnate dal trionfo del fiatismo improvvisativo (sax, flauti e oggetti vari e la voce stessa).

Dal canto loro Marilyn Lerner, Matt Brubeck e Nick Fraser con Ugly Beauties, pur continuando a muoversi nel campo della free-improvvisation, ci propongono patterns più delineati soprattutto con il “lirismo slabbrato” di Oubliette che, grazie all’ottimo violoncello di Matt si spinge nei pressi di certo camerismo contemporane, così come nell’intensa Figure lisse dove l’interplay “piano/violoncello” sostenuto dalla soffusa batteria di Fraser è davvero notevole.

blogue@press-4130 press@4130
1 mars 2010
Par Ken Waxman in The WholeNote #15:6 (Canada), 1 mars 2010

Texte

«In two suites they mix granulated rubs and rattles, sharp rugged smacks and motorized rasps with beneath-hearing-level clatter and hisses to reveal textures ranging from stallion-like whinnies to forte ostinatos replicating a dentist’s drill.»

Duo playing is probably the most difficult kind of improvising. Not only must each player depend on only one other to modify or accompany his ideas, but unbridled creativity has to be muted to fit the other musician’s comfort zone. As these CDs demonstrate, skilled improvisers aren’t fazed by the challenge; but the instruments they choose are sometimes unusual. (…)

Glen Hall has organized the annual 416 Toronto Creative Improvisers Festival since 2001. Guests from the 514 area code were welcomed last year, with Montréal turntablist Martin Tétreault’s sounds most unique. Live • 33 • 45 • 78 (Ambiances Magnétiques AM 191 CD), a duo with Berlin-based turntablist Ignaz Schick, provides examples of these jangling and ratcheting textures. Unlike hip-hoppers who use LPs to insert song snatches or scratch beats, the Canadian-German duo manipulate tone-arms and cartridges as additional sound sources, while pummelling electrified surfaces for distinctive timbres. In two suites they mix granulated rubs and rattles, sharp rugged smacks and motorized rasps with beneath-hearing-level clatter and hisses to reveal textures ranging from stallion-like whinnies to forte ostinatos replicating a dentist’s drill. By the climax of Cave 12 they create a double-counterpoint showcase. The piece weaves vinyl needle rips, frenzied buzzes, static vibrating, video-game-like clanking and near-human cries into a neat package of harmonic interface, as multi-textural as it is percussive.

blogue@press-4088 press@4088
18 février 2010
in CISM (Québec), 18 février 2010

Texte

«[…] l’album livre la marchandise (encore plus si écouté dans une pièce avec de très bons hauts-parleurs).»

Ah! Je suis sûrement le 93e chroniqueur culturel à faire ce jeu de mots facile-là en parlant de Martin Tétreault. Mais cette fois, qu’arrive-t-il si j’ajoute son équivalent berlinois, Ignaz Schick? Une mauvaise justification. Bien que l’album livre la marchandise (encore plus si écouté dans une pièce avec de très bons hauts-parleurs placés aux antipodes de la pièce en question), la médiocrité des calembours faisant office de titres d’articles d’objets culturels est en hausse depuis quelques années. La cause? L’homogénéisation d’un modèle paresseux propagé par les disciples du Voir et son étrange progéniture. Je vous entends déjà: «Mais en utilisant ce titre, n’êtes vous pas en train de participer à la continuité de cette tendance?» À cela, je vous répondrai: «Bien sûr, je suis un autre adepte de ce nihilisme montréalais de fond-de-cour».

blogue@press-4113 press@4113
12 février 2010
Par François Couture in Monsieur Délire (Québec), 12 février 2010

Texte

«Musique abstraite, exigeante, mais porteuse à première vue.»

Enregistré en Europe en 2006, enfin paru sur disque, voici la première (?) collaboration entre deux platinistes, le montréalais Martin Tétreault et le berlinois Ignaz Schick (du trio Perlonex, qui sera au FIMAV 2010 avec Charlemagne Palestine). Soixante minutes d’improvisations texturales sur tourne-disque, objets et surfaces. On a choisi d’isoler les participants chacun dans son canal stéréo - bonne idée, ça permet d’étudier facilement les points de convergence et de divergence entre leurs approches. Pour ceux qui se le demandent, Live 33 • 45 • 78 est tout aussi bruitiste mais beaucoup moins bruyant que les dernières collaborations entre Tétreault et Otomo Yoshihide. Musique abstraite, exigeante, mais porteuse à première vue. Notez que Schick sera à Montréal en mars.

blogue@press-4072 press@4072
1 janvier 2010
Par Henryk Palczewski in Informator “Ars” 2 #50 (Pologne), 1 janvier 2010

Coupure de presse

blogue@press-4079 press@4079
8 décembre 2009
Par Brian Olewnick in The Squid’s Ear (ÉU), 8 décembre 2009

Texte

«While the dynamics and textures range widely, the activity is fairly incessant like a hive of mechanical insects scurrying about their daily tasks.»

It’s rather amusing, at this early date, to already be able to talk about “old-school” vinyl-less turntablism, but that’s pretty much the case here. Tétreault is one of the acknowledged masters of this approach, having pioneered it along with (and often in the company of) Otomo Yoshihide, but his approach was usually activist in nature, unleashing a flurry of scratches, groans, ticks and many other sounds within a conception that owed more to free improvisation from an avant jazz stance than post-AMM electro-acoustic improvisation.

Here, he’s joined by Ignaz Schick, a younger collaborator perhaps best known for his involvement with the improvising ensembles Perlon and Perlonex. The music is presented in two series of seven tracks each. The first (titled, 1-p45 un through 7-p45 sept) is the rougher of the pair, the sounds tending toward the rudely percussive and raspy. While the dynamics and textures range widely, the activity is fairly incessant like a hive of mechanical insects scurrying about their daily tasks. The tone is hard and bleak but no less effective for that, the tendency for elements to possess a repetitive quality reinforcing the gray, industrial aspect although later in the sequence, bell-like tones are heard offering a glimmer of light. The second set of cuts, while by no means rosy, is somewhat more tonal in nature, with ringing metal of various kinds playing a larger role (again, in the later portions). There’s also less of a claustrophobic feel, more of a spatial expanse and a greater amount of “air” around the sounds. One has the impression that there’s more listening occurring between Schick and Tetreault than in the earlier suite. This makes for a slightly more satisfying set, though both have their strong points.

So, it’s “old-school” vis a vis its structure and “busyness” as compared to many more reductionist practitioners but it retains much of the power and brutality that made many of ours ears perk up a decade or so ago.

blogue@press-4001 press@4001

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