Klaxon Gueule was born out of an organ donation. It happened on a Tuesday evening in 1995, during a meal of macaroni. Their goal was instantly clear, there was no way back: the trio would have to last for the next twenty-five years. As in a game — once you know the little tricks of sharing, many things that seemed bewitching at first begin to loose their magic. Klaxon Gueule is the perfect trio: a synthesis between the outside world and the self. Eros, like music, is a branch of nutrition. Klaxon Gueule is an intuitive nutricious trio.
Three distinctive periods mark the evolution of the ensemble:
1. Machinism, the interactive-acceptance stage, informed by hyperactivity and intra-salivation: it gave birth to Bavards (1997) and Muets (1999).
2. Negativism, the symbiotic-reflux stage, informed by revolution and nihilism: it gave birth to Grain (2002) and Chicken (2004).
3. Relativism, the spatiotemporal-fetishistic stage, informed by maturity and insouciance: it gave birth to Infininiment (2009) and Pour en finir (2014).
Guitar, bass and drums, the line-up that has branded the musical evolution of the second half of the twentieth century is indeed an eclectic one, always prone to taste new cocktails: a daiquiri here, a maracuja there and one or two giant-size coolers.
Falaise, St-Onge, Côté: three different ways of rejoicing that intertwine in a perpetual dance, a way to celebrate the ecstatic virtue of friendship through music, and to extoll each members’ otherness.
Music is the field of time. Klaxon Gueule is a vegetable business.
On the web
In the press
François Couture, actuellecd.com, November 25, 2003
David Turgeon, actuellecd.com, June 29, 2003
Etero Genio, Blow Up, no. 32, January 1, 2001
The Holidays are closing in. Are you wondering what gifts to buy this year? You’re looking for the original gift, the one that will surprise and please? Why not expand the musical horizons of a loved one, a colleague at work, or a cousin you haven’t seen since last Christmas? Here’s my highly personal selection of gift ideas to introduce someone (or yourself, you’re allowed to indulge from time to time!) to the wonderful world of “musique actuelle."
That good ol’ song
It may seem a bit easy, but everyone likes a good song. That said, we don’t all have the same definition of what a good song is. And the artists in DAME’s catalog take some liberties with this format — that’s what makes things exciting. But Geneviève Letarte’s Chansons d’un jour will please anyone looking for songs with intelligent, accessible melodies and poetic lyrics. The soft melancholy of Chants des adieux, chants de la solitude will profoundly move dreamers in search of a different voice (Lou Babin’s, irresistible).
You don’t understand French? The lyrics of Jerry Snell’s album Life in the Suicide Riots will make you think hard about the world we live in. And the chugging guitar riffs of André Duchesne ’s Locomotive will catch the attention of any rock fan, even one deaf to French. Speaking of rock, the deconstructed rock of the all-female group Justine can keep you busy for a while, lyrics or no lyrics. Their first album (Suite) is a powerful mixture of progressist rock, while their second Langages fantastiques leans more toward improvised songs. If you want a taste of what songwriting avant-garde artists can come up with, try the compilation album Chante! 1985-2000, a wide and wild selection of unusual songs.
A time for celebrating, letting off steam, and disobedience, the party when applied to music can give way to a distortion of admitted rules. L’Orkestre des pas perdusinjects a new form of circus life into fanfare music, an infectious R ’n’ B (rhythm ’n’ brass, of course) that will refresh any parade. Its cousin Les Projectionnistes (both bands are led by Claude St-Jean) trades circus for rock and the brass section transforms from funny fanfare to frenetic funk. Taking a different approach, the Fanfare Pourpour leaves the official parade attire behind to favor the spontaneity of a street fanfare. It’s music for “everyone" (Tout le monde, the title of their first album) without dropping to the lowest common denominator.
In a similar spirit, but adding an East-European flavor and an incredible dose of energy is the group Interférence Sardines, which features two members of the neo-trad group Les Batinses. Jean Derome et les Dangereux Zhoms walks a jazzier road, but its frivolous side easily becomes delightfully exuberant. The group’s three albums are all highly recommended, but Carnets de voyage remains an excellent place to start. And I find the same spirit of excessiveness and raw emotion in La boulezaille (Pierre Langevin and Pierre Tanguay) and Plinc! Plonc! (Jean Derome and Pierre Tanguay), two albums where world music, jazz and free improvisation collide.
And to boldly go where few have gone before
Maybe you would like to go further and hook someone on a kind of “musique actuelle" that is more daring and abstract. Here are a few key albums from DAME’s catalogue in improvised and electronic music.
Martin Tétreault is one of the most fascinating experimental artists right now. His technique at the turntable spins 45 questions per minute. His recent album with Diane Labrosse, Parasites, puts disquieting quiet sounds under the microscope. And Studio — Analogique — Numérique, his fresh collaboration with the Japanese mastermind Yoshihide Otomo, proposes cutting-edge sonic research in very original packaging: a box set of three 3" CDs.
A pillar of the avant-garde music scene since the early ‘70s, Fred Frith remains the favorite of many connoisseurs. The two albums by the Fred Frith Guitar Quartet (with René Lussier, Nick Didkovsky and Mark Stewart) are essential listens. DAME also distributes the titles released by Frith’s own Fred Records.
One of the first groups from the DAME stables to have explored electroacoustic improvisation, the Klaxon Gueule trio revels in noisy textures and demanding pleasures. Their last two albums Muets and Grain met critical acclaim. And I also want to mention the Ohmix compilation album, a daring electronic project where select artists (including Martin Tétreault, David Kristian, John Oswald, Terre Thaemlitz, and Ralf Wehowsky) remix the albums of the label Avatar.
Finally, instead of sending out the usual Christmas cards, consider the sound post cards produced by the label Ouïe-Dire. These are regular post cards accompanied by 3" CDs from French experimental artists. And happy Holidays!
As we begin this series of articles on various catalogue-related themes, why not start with the hardest artist to pin down from the Ambiances Magnétiques collective: prolific and eclectic drummer Michel F Côté.
A late arrival to the Ambiances Magnétiques roster (joining in 1988), Côté readily put himself on the fringe of various geometrically variable groups. He could be heard for the first time in the debut Bruire album, Le barman a tort de sourire, a surprise box with no less than 14 guest musicians. Bruire is Côté’s very poetic project-group, in which he plays with the language of avant-garde, song and ambient music. This album launched a trilogy which continued in an increasingly mature vein with Les Fleurs de Léo, to end with the unforgettable L’âme de l’objet. This travelling in three steps has given us the chance to hear collaborators such as Geneviève Letarte, Jerry Snell, René Lussier, Ikue Mori, Claude St-Jean and Jean Derome, all of whom helped to feed our drummer’s fertile imagination.
More than six years passed before a new Bruire project could be heard, this one a very different beast: Chants rupestres, an improv quatuor with Jean Derome, Normand Guilbeault and Martin Tétreault. In fact, during these six years, Côté had been working on other projects which were increasingly more… deconstructed. The first sequels of this could be seen in a collaboration with Diane Labrosse, a slightly obscure CD purposely entitled Duo déconstructiviste. And if the first (double) album from his new project Klaxon Gueule, Bavards, was to sport a fairly recognisable “rock” energy, this project would soon see Côté at his most abstract.
The least we can say is that the release of Muets, a shiny minimalist jewel completely at odds with Bavards, would be a surprise to most listeners. One thing was for sure though, this new CD, released in 1999, was certainly more in phase with its era than the Duo déconstructiviste which was, in retrospect, perhaps too much in advance on its time. But this change was also due to the aesthetic evolution of doublebassist Alexandre St-Onge who, from a relatively “classical” playing, was to suddenly turn to a rather more conceptual approach towards his instrument. Côté and guitarist Bernard Falaise were thrilled to follow their bandmate in this new direction. Their latest album, Grain (recorded with Sam Shalabi and Christof Migone), confirmed this tendancy while pushing it even further into sophistication, making this work one of Côté’s most accomplished of his discography.
But the drummer did not stop there and reappeared where no one was expecting him. Thus, with Éric Bernier and Guy Trifiro, he created a new group, Bob, whose new disc, Unstable Friends, just came out. Under some fairly deviant and attractive cover artwork, a return to the bizarre “pop” music from Bruire’s beginnings is taking shape! We also heard through the grapevine that a new project called Mecca Fixes Clock (in which we can recognise the composer’s initials!) which could be described as orchestral ambient. Is Côté returning to his first loves?
If it isn’t so easy to give an overview of Michel F Côté as a musician, then that might be because his work goes beyond just music. In fact, one can often hear our protagonist at the theatre and in performance art, with such creators as Robert Lepage and Catherine Tardif. This aspect of his work finds its echo on Compil zouave, so far the only disc released under the composer’s name. We should also mention Côté’s previous involvement as a radioshow host at Radio-Canada amongst others, and his writing for contemporary arts magazine Esse.
Michel F Côté may best be seen as a kind of barometer of Ambiances Magnétiques’ creative activity throughout the years: from the song-form experiments of the 1980s through the peculiar lyrical impro-composition which was the signature sound of the AM catalogue in the 1990s, to continue with a more extreme form of improvisation, based on the physical existence of the instrument.
Critiques de disques no. 34
The Vancouver New Music Festival produces Interférence: statique x-statique / static x-static and presents, on Wednesday Octobre 19, 2005, Fred Frith, Jean Derome and Pierre Tanguay. And on Thursday October 20, it’s Diane Labrosse, Jean-Pie…Thursday, October 13, 2005 / In concert
Klaxon Gueule (Michel F Côté, Alexandre St-Onge, Bernard Falaise) will meet head on with morceaux_de_machines (Érick Dorion, A_dontigny) at La Sala Rossa (Montréal) on September 1, 2004 for a night of massive electronic improvisation!…Thursday, August 12, 2004 / In concert