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Klaxon Gueule: Entierement Unamies (Ambiances Magnetiques)

Perhaps one of the quirkiest releases from the Klaxon Gueule trio of Michel F Côté, Bernard Falaise and Alexandre St-Onge, performing respectively on drums, guitar and bass, and all on synthesizers and computer, recalling early electronic albums while adding a whimsical and alluring edge to their often darker and more experimental prior releases.
 

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product information:


UPC: 771028125920

Label: Ambiances Magnetiques
Catalog ID: AM 259
Squidco Product Code: 30154

Format: CD
Condition: New
Released: 2021
Country: Canada
Packaging: Cardboard Gatefoldv

Personnel:

Michel F. Cote-drums, synthesizer

Bernard Falaise-electric guitar, synthesizer

Alexandre St-Onge-electric bass, computer

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Artist Biographies:

"Initially a radio character, drummer, and composer, Michel F. Côté became a member of the collective Ambiances Magnétiques in 1988. Since that time, his activities have got encompassed free of charge improvisation along with his groupings Bruire and Klaxon Gueule, sound-art collaborations with Diane Labrosse and Christof Migone, and composing for dance, movie theater, and film. Côté was raised with rock and roll, admiring drummers like Led Zeppelin's powerhouse John Bonham and Yes/Ruler Crimson's man-of-finesse Costs Bruford. But he initial got into the music globe through radio, starting to transmit programs of innovative music in the first '80s at Montreal's community place, CIBL. In 1985, he begun to are a researcher and web host for "Chants Magnétiques" and afterwards "Musique Actuelle" at Radio-Canada, Canada's nationwide francophone radio. A music buff, he sucked in a huge selection of noises and affects, developing his drumming abilities but most of all his studio appearance. In 1988, Côté became the 8th person in Ambiances Magnétiques and documented his first recording beneath the name Bruire. An clothing of unpredictable geometry centered across the drummer, Bruire reinvented itself with each recording. Côté's evolution like a musician could be witnessed through the deconstructed pop tracks of Le Barman A Tort de Sourire (1989) towards the sensitive miniatures of Les Fleurs de Léo (1992) as well as the abstract improvised compositions on L'Âme de l'Objet (1995), a focus on in his discography. In the meantime, Côté started to create incidental music for theatre, dance, and film. This facet of his function quickly became probably the most time-consuming and commercially, aswell as artistically, practical, though it intended employed in the shadows. Since 1995 he is a regular collaborator of playwright/filmmaker Robert Lepage, composing and carrying out the music for the play Les Sept Branches de la Rivière Ota, carrying out in the theatrical cabaret Zulu Period, and composing as well as Bernard Falaise the music of his film Nô. The drummer also caused the dance troupe Carbone 14, and playwrights Wajdi Mouawad and Brigitte Haentjens. The single recording Compil Zouave culls excerpts from these different ratings. In the past due '90s, Côté created a pastime in live consumer electronics and shifted his music toward freer and more-textural pastures. A cooperation with sound designer and Avatar member Christof Migone (Vex, 1998) activated an exploration of the electro-acoustic improvisation that created in Austria and Germany at the same. This fresh vision is recorded on Muets, the next recording by his trio Klaxon Gueule (with Falaise and Alexandre St-Onge)."

-MusicianBio (https://musicianbio.org/michel-f-cote/)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Bernard Falaise. Born Montréal, Québec, 1965. Residence: Montréal, Québec. Composer, Performer (guitar).

Bernard Falaise was born in Montréal, where he currently lives. He plays electric guitar, composes and improvises - all with evident joy - for Miriodor, Klaxon Gueule, les Projectionnistes, Diesel and other groups. He has written for the Ensemble contemporain de Montréal (ECM), Quartango and the Isis Quartet, and has created music for exhibitions, television, the theatre and dance. Allergic to labels, Falaise explores acid rock, twelve-tone waltzes and industrial tangos with equal enthusiasm."

-ActuelleCD (http://www.actuellecd.com/en/bio/falaise_be/)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Alexandre St-Onge. Born Montréal, Québec, 1976. Residence: Montréal, Québec. Composer, Performer (double bass).

Alexandre St-Onge is an audio artist, a musician/improviser (acoustic bass, bass, voice and electronics) and a sound performer. He has studied literature and philosophy and he is currently doing his PhD in art. He is fascinated by creativity as a pragmatic approach of the ineffable and he has released seven solo CDs: Entités (Oral), Joseph Carey Merrick (Oral), Mon animal est possible (Alien8 Recordings), L'amitié ou les rumeurs insoutenables du désir (Squint Fucker Press), kasi naigo (Squint Fucker Press), Une mâchoire et deux trous (Namskéio Records), Image/négation (Alien8 Recordings). He also plays in quite a few bands, including Et Sans, K.A.N.T.N.A.G.A.N.O., Klaxon Gueule, Pink Saliva, Mineminemine, Shalabi Effect and Undo. As a composer he has worked for interactive/mixed-media company kondition pluriel, as well as composing for artists such as Marie Brassard, Karine Denault, Lynda Gaudreau, Line Nault, Jérémie Niel, Maryse Poulin and Mariko Tanabe."

-ActuelleCD (http://www.actuellecd.com/en/bio/stonge_al/)
4/14/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


1. Mes propres yeux 4:36

2. Non-lieu d'adieu 3:40

3. parfait usage d'un instrument parfait 3:25

4. notion d'escamotage 2:52

5. Continuum indifferencie 5:22

6. le trou? 2:57

7. Rapiecement imprecis 4:09

8. Societe Perpendiculaire 5:00

9. la mort comme victoire malgre nous 3:06

10. toute la glu 3:44

11. Overdosing on cherries 1:58

12. Deux ouverts directement devant 3:53
sample the album:








descriptions, reviews, &c.

"Since 1997 Michel F Côté, Bernard Falaise and Alexandre St-Onge have been releasing music under the moniker Klaxon Gueule. These albums take bits from noise, experimentalism, avant-garde, free improvisation, and jazz to create something forward-thinking. The group have now released their eighth album, Entièrement unanimes, loosely translated to Fully Unanimous. Using the blueprints of the previous 24-years to create their strongest release to date. Which is no easy feat!

From the opening salvo, there is something wonderfully wonky about Entièrement unanimes. Its charm comes from the giddy glee that seeps out of every pore. It reminds me of those early electronic albums where it was more about experimentation, and fun than what was actually created. That isn't to say that Klaxon Gueule hasn't crafted some wonderful music. "Non-lieu d'adieu" is a fantastic piece of music that lurches around over ad-hoc percussion, whimsical synths, and delightful bleeps.

"Toute la glu" is built around a fidgeting bassline which allows lyrical guitars and obtuse synths to create something that is both transfixing and repulsive. You are drawn to it and cannot look away, but there is something at its core that makes you want to flee. This juxtaposition is something that has been missing on their previous releases, but here is used to make our stay and lives up to its title of "All the Glue". Entièrement unanimes culminates on "Deux ouverts directement devant". Here everything is pushed to it (ill) logical conclusion. From the psychedelic intro, gossamer guitars and xxx we are shown another side to the band. The previous 11 tracks have been atonal twitching things, but here Klaxon Gueule shows us they are capable of creating something beautiful and, dare I say, almost conventional. There are actual melodies and rhythms to latch on to, rather than writhing layers of server instrumentation. It is a fitting end for such a delightfully deviant album.

At its core, Entièrement unanimes is an incredibly fun album. There is a conviction to the album that is inspiring. It doesn't take itself too seriously, but the playing is done with absolute seriousness. There is no messing about here. But this is part of the album's charm. After a quarter to a century performing and recording Côté, Falaise and St-Onge know each other well. They can predict what they others will do and counterpoint it perfectly. After listening to Entièrement unanimes for longer than I should, I am unanimous in my decision that it is one of the finest albums of the past few years. This should be shouted from the rooftops. Entièrement unanimes should be on everyone's end of the year list and if it isn't then you need to take a hard look at yourself in a mirror."-Vital Weekly


Get additional information at Vital Weekly
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