Friday, July 7, 2017

L'Infonie - 1972 - Volume 333

Volume 333

01. Paix Prélude (2:56)
02. Paix Section 1-17 (10:52)
03. Paix Section 18 (6:37)
04. Paix Section 19-23 (3:18)
05. Paix Section 24-30 (8:43)
06. Paix Section 31-32 (1:11)
07. Paix Section 33-50 (9:12)
08. Concerto en Ré Mineur (Allegro) (8:18)
09. Concerto en Ré Mineur (Adagio) (6:15)
10. Prelude XXII, Tiré Du "Clavecin Bien Tempere" Livre 1er (6:53)
11. Kyrie, Tiré De La "Messe Nostre-Dame" (5:15)
12. Kyrie, Tiré De La "Messe Nostre-Dame" (9:15)
13. Il Nous Canard De Vous Présenter La Toune Platte "Gnognannteur Quartoon" (10:04)

- Raôul Duguay / voices
- Jacques Beaudoin / bass, double bass
- Jacques Valois / bass
- Ysengourd Knörh / drums, percussion
- Michel Lefrancois / guitar
- Yvon Trudeau / guitar
- Gilles Haineault / piano, electric piano
- Michel Gonneville / electric piano
- André Pelchat / alto-saxophone
- Jean Grimard / soprano-saxophone
- Pierre Daigneault / tenor-saxophone, piccolo
- Walter Boudreau / baritone-saxophone, orchestration

Mysteriously this album should be much more polished than it sounds, and at the same time the musical unification in the whole album should be perfectly disrupted with a strong intention. What an awesomeness. This creation lighted with a small electric bulb "Vol. 333" by a Québécois avantgarde rock combo L'INFONIE is, honest to say, one of my favourite albums all over the rock world, in which I've got immersed over and over until now. Sounds like they had played comfortably under the clear blue sky, introducing a variety of musical elements.There is no laziness nor seriousness around them but fantastic atmosphere based upon such a strict ensemble produced with their incredible technique.
From the beginning ... the starter "Paix Prélude" enough advocates their colourful diversity. The first distorted sound explosion is so powerful enough to knock us out, and their improvisation-oriented sound presentation would get delightfully harmonized as the song makes progress toward the Paix Sections. "Paix Section 1-17" can be called also as a one-man theatre by the vocalist Raôul. His percussive, precisely rhythmical voices is too splendid and too creative to be mimicked by anyone. And all of the rock commune support him upon their brilliant instrumental arms. This is exactly a cooperation in the L'Infornation. On the other hand, a sudden explosive shout by Raôul in the beginning of "Section 19" reminds us of old-fashioned funk. What did they think on the play? Another one-man stage, very interesting, impressive.

A great mass of classical essence, incorporated into this project of theirs, gets mixed, merged into avantgarde environment naturally but deliberately. "Ode To Joy (via in the final movement of Beethoven's Ninth Symphony)" is featured in the middle part of "Section 33-50" or Ravel's "Boléro" in "Section 1-17". Could say so effectively I guess. "Concerto En Ré Mineur" Allegro and Adagio are completely classical concertos featuring brilliant piano play and a chamber ensemble. The last "La Tounne Platte" is such a free jazz, flooded with sound extremity launched by the whole rock commune, and can be mentioned as one of the symbolic tracks in this double album.

I'm sure there are pros and cons upon their soundscape (sounds a tad eccentric, purposeless or less strategical I'm afraid) but why cannot we call this their originality? This creation should be the one that appears L'INFONIE's decent attitude for music itself.

1 comment: