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Martin Tétreault

In the later ’80s and early ’90s, Martin Tétreault was the quietest person in Ambiances Magnétiques, Montreal’s influential songs collective. He was offering unusual turntable collages towards the tasks of his co-workers and released several mind-boggling single albums. When minimal techno and experimental electronica strike the museums on the turn from the millennium, he became the label’s biggest worldwide name, multiplying collaborations with famous brands Otomo Yoshihide, Kevin Drumm, Xavier Charles, and Janek Schaefer. This profession boom was along with a stylistic change from vinyl fabric quotation to a strategy from the turntable being a “100 % pure” sonic gadget. Along the way, what he dropped in love of life, he obtained in harsh strength. Tétreault includes a history in great arts. Similar to the Czech radical musician Milan Knizak, he started to work with vinyl fabric because paper led him to a deceased end. In 1984, for the very first time he got an LP, lower it in two, flipped one piece over, pasted it back again together, and performed the result on the turntable. Tétreault continuing to experiment in the home, developing slicing and skipping methods and collecting a huge selection of inexpensive records he bought at flea marketplaces. 3 or 4 years later on, his next-door neighbor overheard his shenanigans. It had been Ambiances Magnétiques guitarist André Duchesne, who quickly released Tétreault to his band of musician close friends. Michel F. Côté enrolled him in his ensemble Bruire. The turntablist’s 1st appearance on record are available within the 1989 LP Le Barman a Tort de Sourire. He continued to be using the group through the entire ’90s and beyond. He also used René Lussier, Jean Derome, and Diane Labrosse. His 1st large-scale recording, Des Pas et des Mois, arrived in 1990. After that, besides the periodic Bruire recording, Tétreault kept a fairly low profile. Items transformed in 1997-1998 when he started to forget about quotation and cut-ups to build up a far more textural design that eventually noticed him dispose of the record to try out the turntable itself, sticking the tone-arm in the engine, putting the needle on the platter, etc. These fresh developments were in the centre of his duo with René Lussier, released by the extremely abstract and loud Dur Noyau Dur in 1998. A involvement in japan project Four Concentrates opened doors; therefore did a following duo program with Yoshihide (21 Circumstances, 1999) and a single Compact disc for the Belgian label Audiophile (La Nuit Où J’Ai Dit Non, 1998). At that time, the turntable acquired turn into a trendy device of avant-garde appearance and Tétreault embarked on the active touring and documenting timetable. In 2002, he curated the “Turntable Hell” tour (in Britain) financed with the Modern Music Network.

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