{"id":26729,"date":"2020-08-24T13:49:46","date_gmt":"2020-08-24T17:49:46","guid":{"rendered":"https:\/\/panm360.com\/records\/les-meandres-de-la-soif\/"},"modified":"2020-08-24T13:51:15","modified_gmt":"2020-08-24T17:51:15","slug":"les-meandres-de-la-soif","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/les-meandres-de-la-soif\/","title":{"rendered":"(les) m\u00e9andres de la soif"},"content":{"rendered":"\n

Under the alias Barrdo, Pierre Alexandre launched himself body and soul into his chamber pop with multiple inspirations, by far the most ambitious project of a still young career. Psychedelia, minimalism, jazz-rock from the Bitches Brew<\/em>\/In a Silent Way<\/em>\/Sextant<\/em> era, Gainsbourg pop, prog rock, contemporary Messiaenic or Schoenbergian music, Zappa\u2019s orchestral rock, arrangements \u00e0 la George Martin in the service of the Beatles, and other Jagga Jazzist-style twists, are among the stylistic references… not to mention the key projects of Quebec orchestral pop: Jean-Pierre Ferland’s Jaune<\/em>, Harmonium\u2019s L\u2019Heptade<\/em> arranged by Neil Chotem, l’Infonie… Phew! <\/p>\n\n\n\n

For these sessions at Studio B-12 in Valcourt, Alexandre assembled drummer Olivier Laroche, bassist-guitarist David Bujold (with whom he also performs under the FUUDGE banner), and guitarist Nicolas Ferron-Geoffroy. Rounding out this core group of musicians are a four-voice choir (Alex Guimond, Judith Little, Sam Beaul\u00e9, David Bujold), a string trio (Louis-Solem P\u00e9r\u00f4t, cello, Catherine Mailloux, violin, and Sarah-\u00c8ve Vigneault, viola), J\u00e9r\u00f4me Dupuis-Cloutier’s trumpet, and Fran\u00e7ois Viault’s bassoon. With the recruitment of this small army, what we have here is an ambitious presentation integrating the musical background of each one through his classical, jazz, pop, and rock training. Let’s salute this pharaonic and, let’s say it, slightly shambolic initiative of Alexandre\u2019s. One can understand this jubilant tangent, seeing the bowl of treats that constitute the human resources exploited here. <\/p>\n\n\n\n

In recent years, Antoine Corriveau and Philippe Brach have also made their \u201cpop keb de chambre\u201d trip, inspired by an anthology of classical productions. Here’s another one that makes its mark on keb songcraft. Once again, we can see that many musicians of this generation can count on a solid musical education and even dare to integrate radical elements to chansonnier forms. However, anyone familiar with these multiple references will not be confused, as they are clearly identifiable and are part of the same indie movement involving chamber music since the dawn of this millennium. For lovers of keb songs, this exploration remains exceptional, and serves all the more Pierre Alexandre’s poetic purposes: elevation, exploration, change… not really romance.<\/p>\n\n\n\n