Lames de fond
Martin Bédard, Marie-Hélène Breault
… a most interesting release… — Audion, UK
And ends smashingly with Kissland… — Bad Alchemy, Germany
- Composer(s): Martin Bédard, Marie-Hélène Breault
- Performer(s): Marie-Hélène Breault
- Cover image: Dave Sandford
- Mastering: Antoine Lussier, Pauline Patie
- SODEC
CD (IMED 22178)
- 1Honey (Architectures From Silence No. 1) (Martin Bédard) (2020-21), 17:18fixed medium
- 2flute, processing and fixed mediumMarie-Hélène Breault, flute
- 3fixed medium
- 4Kissland (Martin Bédard) (2016), 11:45fixed medium
- Label: empreintes DIGITALes
- IMED 22178
- 2022
- UCC 771028217823
- Total duration: 61:03
- OGpak
- 125 mm × 125 mm × 10 mm
- 50 g
Download (IMED 22178_NUM)
- 1Honey (Architectures From Silence No. 1) (Martin Bédard) (2020-21), 17:18fixed medium
- 2flute, processing and fixed mediumMarie-Hélène Breault, flute
- 3fixed medium
- 4Kissland (Martin Bédard) (2016), 11:45fixed medium
- Label: empreintes DIGITALes
- IMED 22178_NUM
- 2022
- UCC 771028217885
- Total duration: 61:03
Notices
Thanks
Sincere thanks to Dominique Bassal, for his invaluable advice and generous feedback over the past few years, and to Pauline Patie, Antoine Lussier, Christian Bouchard, Jean-François Denis, Luc Beauchemin, and Pierre-Luc Senécal for their collaboration at various stages of the production of this album.
Martin Bédard, Marie-Hélène Breault [viii-22]
Some recommended items
In the press
Review

Kritik

Recensioni

Lames de fond di Martin Bédard e Marie-Hélène Breault ha invece una doppia anima: i due brani firmati dal solo Bédard si basano su un processo di densificazione e cristallizzazione del suono che raggiunge il culmine nei diciassette minuti iniziali di Honey (Architectures From Silence No. 1) a cui fa seguito la pareidolia — “tendenza istintiva e automatica del cervello a trovare strutture ordinate e forme familiari in immagini disordinate” — di Kissland, mentre nelle due composizioni firmate in coppia la materia elettroacustica stabilisce un costante interscambio col flauto della Breault, dapprima in volute di suono dinamico e fluente (???? Extensio:Warm:Up????) e poi nelle continue trasfigurazioni di Replica.
Review
Released via the long-standing avantgarde imprint Empreintes Digitales on October 11th, 2022 is Lames de fond, the extended collaboration album conceived by the joined forces of experimental composer Martin Bédard and Marie-Hélène Breault. With four extended pieces composed and brought to life over a timespan of almost a decade rolled out over a total playtime of 61 minutes the opening piece Honey (Architectures From Silence No. 1) caters a thundering, highly compressed and twisted maelstrom comprised of both Digital Noize, heavy duty Industrial war drums as well as splintered fragments of Contemporary Classical music; followed by the fascinating amalgamation of grinding, tectonic Noize movements and Marie-Hélène Breault’s enchanted, yet still highly dramatic flute performance to be found in 𝄆 Extensio:Warm:Up 𝄇; before the cut finally resolves in waves of calming Ambient music. Subsequently Replica provides sonic shockwaves of buzzing, whirling, fluttering electrical Noize later accompanied by layers upon layers of tense off-kilter strings shortly interrupted by surprisingly calm, yet somewhat eerie breakdown sequences whereas the concluding Kissland brings forth a set of movements ranging from braincell crushing Digital Noize sequences to dynamic outbursts of scraping Noize paired with short fever’ish, micro-fragmented Modern Classical strings on the brink of madness. Probably the most spine-tingling, intense and captivating Empreintes Digitales release we’ve reviewed so far. Excellent. Go check.
Release Tipp: Hans Tutschku, Åke Parmerud, Martin Bédard & Marie-Hélène Breault und Vanessa Massera / empreintes DIGITALes
Umgeworfen hat mich das Duo Martin Bédard & Marie-Hélène Breault deren Musik, wie eine riesige Welle über einen hereinbricht. Wie ein Actionfilm oder so ähnlich. Mitunter ist es auch brachial, aber akustisch ungemein überzeugend. Åke Parmerud’s Musik ist eher dunkel. Verfremdete Celloklänge, überhaupt arbeitet er viel mit Streicherklängen, welche dann in atemberaubende Soundcollagen münden. Natürlich wird das Erinnern von Hans Tutschku an seine Japanreise durch viele Fieldrecordings unterstützt und wie er das ganze verarbeitet und erweitert, das ist spannend. Bei der Musik von Vanessa Massera denke ich mehr als bei allen anderen an eine Filmmusik. Eine sehr beeindruckende und herausfordernde Musik.