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VICTO 117CD
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Gunda Gottschalk: violon, voix; Xu Fengxia: guzheng, voix. Enregistré au 25e Festival International de Musique Actuelle de Victoriaville le 18 mai 2008. "'Impressive in its own way was the duo of violinist Gunda Gottschalk and guzheng virtuoso Xu Fengxia, in whose hands contrasting roots in Western and Eastern classical musics stretched to become a common fabric, an expressionist ground in which strings and voices could move from song-like repose to chattering, screaming nightmare.' - Stuart Broomer, Musicworks."
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VICTO 116CD
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Performed by Joe Morris : guitare acoustique; Simon H Fell : contrebasse; Alex Ward : clarinette. "The Necessary and the Possible applied to the context of this group -- and what we reach for with our music -- says so much about the subject that I could just type the title enough times to fill this page, not write anything else and leave the rest for the reader to imagine. That might be sinister and apathetic. Seriously though, Simon, Alex and I are indeed equals. There is a balance of content between us. It is rendered in shared ideas about articulation, timbre, and methods of interaction. The group vocabulary feels limitless. We listen to one another carefully, with a willingness to play in unison, to complement and or juxtapose whatever idea comes to us. Perhaps it's a coincidence that we share this set of things. We live in different countries (me in the U.S., Alex in the U.K., Simon in France) and up to the date of this recording had only worked together as a group for a week. Knowing as I do that there are many U.K. musicians who share a similar degree of technique and versatility, perhaps the real coincidence here pertains to me. Regardless, the complex set of materials we share makes it possible to achieve what I feel is a rare combination of things. For instance, we freely decide to connect to a kind of narrative flow, a stated or implied pulse or linear progression, then instantly disconnect from it separately or together. This single musical decision gives us an amazing amount of freedom in our performance. It expands our ability to use pitches that can be manipulated with timbre and extended techniques as singular sonic statements, to construct intervallic templates, or to use melodic ideas that ride the flow. Like every part of our music, our collective creation of form requires no planning or discussion. The sequence of events, beginnings and endings occur through trust and confidence in each other." -- Joe Morris, March 2009
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VICTO 115CD
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"3 Musiciens. 2 Guitares Élektriks. 3 Tourne-Disks. 1 Spy-Mikrophon. 201 Spektateurs." Recorded live at Victoriaville, 5/19/08.
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VICTO 114CD
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''What comes through in both 'Plates-formes' and 'Traquenards' is a strong sense of overarching form and a keen ear for lyrical melodies. Themes are woven together with shrewd arrangements that make the most of the ensemble. Reeds, brass and strings play off of each other; lilting lines are stated by one instrument and shadowed by others; Hétu's percussive vocalizations and Tétreault's scratches, pops and samples are interjected, throwing the arc of the music in to unexpected detours. One moment, the ensemble floats along on an impressionistic riff; the next, the mood is fractured with jagged shards of noise. They can swing with abandon or rock out with caterwauling energy. All of this is done with a sense of playfulness rather than with distanced irony. While there are plenty of solo spots, to call out individual voices is beside the point as each member is so fully integrated into Derome's arrangements... '' -- Michael Rosenstein, March 2009
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VICTO 113CD
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"In the spring of 2006, Spanish sound artist Francisco López led a composition workshop in Montreal. A master of the field recording and its use in acousmatic composition, López asked the participants to share their urban field recordings. From their work came a compact disc, Montreal Sound Matter on Pogus, and an exhibition presented at the Fonderie Darling in Montreal. The Victoriaville Matière Sonore project continues the work started in the metropolis. For this occasion, the original seven participants have agreed to get together again, under López's direction, and create a new collective work from scratch. First, they came to Victoriaville to make field recordings in various public and private spaces, recordings that have been once again shared with the group. Then, they each produced a new piece using this common soundbank. However, this time around López did add one extra rule: a sequential order has been set, so that composers had to use, as the starting point for their own composition, the piece of the composer coming before them. As a result, we have a long acousmatic work in eight sections, each section picking up where the previous one has left." Artists include a_dontigny, Chantal Dumas, Steve Heimbecker, Louis Dufort, Mathieu Levesque, Helene Prevost, Tomas Phillips and Francisco López.
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VICTO 112CD
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"On the final day of the Festival, Eugene Chadbourne, the unique North Carolina advocate of hillbilly anarcho-improv, took the stage with Florida-born techno-conceptualist Kevin Blechdom (born Kristin Erickson) -- with long hair and gender-ambiguous coveralls, she might have been an adolescent male of the rural American South -- in a program devoted largely to banjo duets and country-fried vocals. The performance by The Chaddom Blechbourne Experience was very funny. Blechdom sang vacuous material with real passion, while Chadbourne fragmented idiomatic five-string banjo with chaotic runs. The whole event was genuinely strange (Chadbourne popped helium balloons and inhaled the escaping contents for instant falsetto) and immensely entertaining." --Stuart Broomer, Musicworks, Winter 2007. "New, surprising ideas still sneak into the mix. Take, for example, the (mostly) banjo duo of Eugene Chadbourne and Kevin Blechdom: closing a set which swerved deliriously from tipsy Americana to Syd Barrett-era Pink Floyd covers, the pair goofballed 'Dueling Banjos.' Kevin (actually a woman) humped her banjo, and the pair enacted an onstage, starter pistol gunfight. Voila, a double whammy FIMAV first, with gunplay and sex with instruments!" --Josef Woodard, Santa Barbara Independent, June 2007.
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VICTO 111CD
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Full title: Five A's, Two C's, One D, One E, Two H's, Three I's, One K, Three L's, One M, Three N's, Two O's, One S, One T, One W. Michael Snow (synthétiseur CAT, radio à ondes courtes, piano), Alan Licht (guitare électrique, électroniques), Aki Onda (cassettes, électroniques). "The Snow/Licht/Onda concert was proof that the most unconventional of instruments can be used to create imaginative soundscapes. Canadian pianist/electronic manipulator Michael Snow has led a life of diversity as a celebrated avant-garde filmmaker and improvising artist. New York-based guitarist Alan Licht has operated in a variety of musical spheres, influenced by everything from the minimalism of Steve Reich to no wave bands like Sonic Youth. Japanese-born, New York-based Aki Onda is an equally intrepid artist who, aside from composition, production and photography, uses a most unlikely instrument -- a cassette Walkman -- to create a personal view of music as texture and experience. The trio's hour-long performance, while not its first, found them still very much in exploratory territory, looking for ways to shape sounds ranging from spare and atmospheric to dense and industrial. While there was little relationship to the familiar, the set had its own form, even if suggestive of a relentless barrage of sound. Snow, at various points, put a portable radio up to a microphone, broadcasting whatever he happened to find, including a radio announcer discussing a festival taking place in Victoriaville. Like many other moments during this often intense spatial-temporal audioscape, serendipity reigned --the postmodern self-referentiality of the radio announcement being a prime example. But perhaps what made the set so interesting was, above all, the audience' awareness that many of the sounds being produced by Snow, Licht and Onda were as new to the artists as to the audience. Improvisation as texture, not as rhythm, melody or fixed form." --John Kelman, All About Jazz, Victoriaville May 18, 2007.
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VICTO 107CD
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Recorded live at Victoriaville, 5/21/2005. "A real springboard to imagination, these two DJs with very different backgrounds (one is affiliated with avant-garde and noise music, the other comes from hip-hop's left wing) offered a dialogue ranking among FIMAV's most striking meetings. Marking the adventurous approach with known references, Tetreault and Koala truly gave it all." --Alain Brunet
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VICTO 104CD
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"A strong trio, again with two homeys, Nels Cline on electric guitar with devices (from L.A. & currently in Wilco), Andrea Parkins on accordion & sampler and Tom Rainey on drums. This trio plays mostly long pieces which develop slowly with Nels and Andrea repeating fragments as they build and mutate their textures. Tom Rainey is the perfect man for this job as he weaves his percussive waves, helping to navigate the rapids that Nels and Andrea weave together. There is an unexpected hard rocking punk explosion mid-set, which seems strange from Tom Rainey, yet not out of character from Nels who has worked with Mike Watt (from the Minutemen), Lydia Lunch & Geraldine Fibbers. What I dig about this trio is that there is no leader here, each member is an integral part of the sound and helps to determine the direction of each piece. They each seem to pass ideas back and forth and build upon each idea, turning it slowly into something else." --Bruce Gallanter, Downtown Music Gallery
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VICTO 103CD
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"Enregistre <> au 22e Festival International de Musique Actuelle de Victoriaville le 21 mai 2005." Live Victo recording; this one uses up the Sound @1 catalog #82, in case you're keeping track.
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VICTO 101CD
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Enregistre 'live' au 23 Festival International de Musique Actuelle de Victoriaville, le 20 mai 2006. "Each album or performance by My Cat Is an Alien is an invitation to leave on a cosmic journey, without resorting to the numerous cliches of the space music genre. Think instead of a synth-less Ash Ra Tempel coming across the quiet improvisation current. Think of stripped-down music made of looped droning guitars, caressed percussion, toy instruments and toy microphones being used while boldly disregarding all printed warnings. Think of a cosmos glorifying its vacuous interstellar space, the silence that amplifies the smallest particles of sound. Or don't think at all and just let yourself be swept away." --Francois Couture
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VICTO 098CD
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"A radical thinker in a class by himself, Braxton writes compositions that represent a complex view of the world. One look at his charts -- which combine standard notation, passages of notes in specific colours and unique graphical representations -- and it's clear that there's an advanced process in play. And watching the sextet perform, witnessing the kind of concentration and attention required by everyone with everyone, provided definite insight into how Braxton's revolutionary compositions make the transition from written page to performance. With a variety of extended techniques used by all to broaden the sonic palette, '345' was a stunning new piece of music that continues to assert Braxton as one of the great musical thinkers of the past forty years. His compositions demand nothing less than complete commitment by the audience, and it was clear that those in attendance were totally engaged. A remarkable piece performed by an outstanding ensemble and a clear festival high point." -- John Kelman
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VICTO 092CD
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"The singers shape their song into a repeated chant that loops in on itself in darkened circles. Then, within a single drawn breath, ahhhhhhh, the picture changes, or maybe it simply changes into a picture with everyone in their cherished role. Then, the song of the singers on that mound is pulsed through the crowd on everyone's voice and tongue, and it becomes the one song of that moment no longer owned or even made by those 5 men singing in the center, not followed or learned by the townspeople. Suddenly, on that single in-drawn AHHHHHHH, comes the pleasure and fullness of a task needing to be done and a song waiting to be sung. This is how singing really works: you find yourself humming the song of a stranger who passes you in the warm evening air and you take the melody in your arms and run away!" -- David Moss.
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VICTO 091CD
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"If you think about where the players of this quartet paying tribute to Kowald are coming from, you'll get a glimpse of the network he helped to establish and was involved with: William Parker from Afro-American Free Jazz, Joelle Léandre from European Classical and New Music, Barre Phillips an American in Europe, experienced in the aesthetics of both these worlds, Tetsu Saitoh from Japanese Traditional Music, tango ensembles and, most importantly, Free Improvisation. It was Peter's belief already in the late seventies, when he started the trio with Leo Smith and Günter Sommer, that musicians coming from different cultural traditions could find a common base of communication via the language of free improvisation. His concept of a Global Village, which differs fundamentally from any kind of world music, was developed from this belief."
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VICTO 090CD
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"The most successful was the Saturday afternoon concert by Diane Labrosse (electronics), Martin Tétreault (turntables etc), Xavier Charles (clarinet and electronics) and French duo Kristoff K. Roll (household objects). The five were placed on a platform in the middle of the Colisëe, and the audience was free to walk around and observe the musicians at close range, which de-mystified the process. The improvisation was powerful and atmospheric, dominated by Labrosse's inventive use of samples taken from around her house. Tetreault was drolly inventive, while Charles and KK. Roll added splashes of colors."
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VICTO 077CD
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Pino Minafra (trompette, bugle, voix). Sandro Satta (saxophone alto). Giorgio Occhipinti (piano). Vincenzo Mazzone (batterie, percussion).
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VICTO 074-6CD
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"Three pianists -- Cecil Taylor, Marilyn Crispell and Paul Plimley -- and an alto saxist -- John Oswald -- gathered to play, in a triple-header that meandered blissfully and chaotically, and showed us a vision of measured abandon. Freedom rang out, amidst floating bits of structure and melody, and it also stretched out over three hours. Obviously, an intensely personal expression is involved in the work of solo improvisers on this high of an order. Yet there is also a negation of the usual musical hierarchies, which makes this music so brimming with a kind of idealism, unveiled in very real time."
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VICTO 069CD
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"Mari Kimura, violin; Roberto Morales Manzanares, flutes, piano, Veracruz harp. Manzanares' choice of instruments and techniques reveals a panoramic sweep extending back to the vast pre-Columbian civilizations of the Central and South Americas, back across the treks over the Bering Strait, and on rafts over the Pacific, back to Asia and forward again on all circuits. In Kimura's extended violin technique, another look backward, through the veil of the European academy and through the language of gagaku and noh. They finally meet in an illuminated place outside of all location, temporal or spatial." - -Elliot Sharp.
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VICTO 048CD
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A Frankfurt-based trio, live at Victoriaville 1996: Roelofs (trombone, violin, trumpet), Johannes Kramer (guitar, electronics, tapes), Dirk Marwedel (saxophones).
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VICTO 043CD
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Live at Victoriaville 1996. Sebi Tramontana (tbn), Evan Parker (ss, ts), Barry Guy (b), Paul Lovens (d, per.), Mario Schiano (as). "An encounter full of musical wonder, excitement, experimentation, the feeling that something special had taken place. And Schiano's saxophone, at once brimming with joy and tinged with melancholy -- who knows that emotion more intimately than the passionate at heart? To be both charming and challenging, social and solitary: a tall order for most, but no problem for the Maestro and his gang."
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