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Klaxon Gueule

Klaxon Gueule: “horn scream.” Having a name like this, you would anticipate something noisy, actually hardcore, but rather what you obtain is a free of charge improv trio with solid leanings toward electro-acoustic textures. Ambiances Magnétiques drummer Michel F. Côté’s primary musical vehicle because the past due ‘90s, Klaxon Gueule required component in the avant-garde motion that redefined free of charge improvisation by placing more focus on silence and real-time audio treatment. From your past due ‘80s up to the past due ‘90s, Côté’s personal function (instead of his music for film and theatre) was aimed toward his shapeshifting task Bruire. By 1997, he wished to do something even more particular: jazz-based free of charge improvisation. Feeling the necessity for fresh bloodstream, he recruited Miriodor guitarist Bernard Falaise (with whom he previously done soundtracks for filmmaker Robert Lepage) and Alexandre St-Onge, a youthful jazz bassist. The trio started to execute a raucous type of ecstatic jazz and released the dual established Bavards (“talkative”) on Ambiances Magnétiques in 1997 — saxophonist Christopher Cauley augments the lineup on disk two. In the next a few months, St-Onge immersed himself totally in experimental audio art. He ceased playing regular bass entirely, using your body of the device to create cavernous noises he treated with live consumer electronics or hammering on a power bass. He released his initial solo album Picture/Négation on Alien8 Recordings and became a member of Christof Migone in the contact-microphone duo Undo. Rather than searching for a far more ideal bassist, Falaise and Côté implemented his lead, creating a textural strategy exactly in stage with the increasing electro-acoustic improv picture in European countries. The group’s second Compact disc released in 1999 uncovered the change, the name Muets (“mute”) cramming into one phrase a large area of the tale. This modification of center (and audio) provided Klaxon Gueule quite an advantage and attracted worldwide attention. What got started being a aspect task became a locomotive for Côté and Falaise (St-Onge also attained some achievement with Shalabi Impact). The group made an appearance on the Celebration International de Musique Actuelle de Victoriaville as well as the Taktlos Celebration. Grain (2002) features visitor performances by Sam Shalabi and Migone.

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