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By 2017 as well as the discharge of Indication 9, Montreal avant-prog group Miriodor were still carrying the flag they initial hoisted over 30 years earlier among the initial groups over the “rock and roll” side from the Quebec-based musique actuelle formula. At their inception, Miriodor may be viewed as UNITED STATES practitioners from the Rock and roll in Opposition (RIO) design pioneered by such Western organizations as Henry Cow, Etron Fou Leloublan, Débile Menthol — instrumental prog rock and roll using the essential specialized skill and virtuosity but non-e from the pomposity that dragged down better-known prog clothes. Thanks to 25 % century of continuing support through the Cuneiform label, Miriodor possess documented their stable artistic growth using one Compact disc after another, with no need to bargain their music relating to popular likes in the rock and roll music market. The music group was founded in Quebec Town by keyboardist Pascal Globensky and multi-instrumentalist François Émond (violin, flute, clarinet, keyboards) in 1980 and experienced several personnel adjustments before stabilizing like a sextet in 1983. This lineup, including drummer Rémi Leclerc, saxophonist Sabin Hudon, keyboardist/bassist Marc Petitclerc, and bassist/guitarist Denis Robitaille, documented the 1st Miriodor vinyl fabric LP, Rencontres, and a cassette-only discharge, Tôt ou Tard, which highlighted the quartet of Globensky, Émond, Leclerc, and Hudon became a member of by first sextet people Petitclerc and Robitaille on three paths. By nov 1984 Petitclerc and Robitaille got dropped from the music group and the rest of the foursome shifted to Montreal to keep the Miriodor saga. Nevertheless, by 1987 the Miriodor tale was starting to appear to be “the Amazing Shrinking Music group,” as group co-founder Émond departed and Globensky was today the just Miriodor member who was simply using the group since its 1980 inception. Even so, using the trio people of Globensky, Leclerc, and Hudon all playing synthesizers and embracing the options of MIDI technology, the music group conjured up an array of instrumental voicings and textures, and could maintain a audio that often recommended a more substantial — but definately not heavy-handed — ensemble. In 1988 Miriodor started their romantic relationship with Cuneiform, which released the trio’s eponymously called label debut that season. Following the dawn from the Compact disc period, Miriodor was re-released with the help of the quartet songs from Tôt ou Tard offering Émond; still later on (1998), Cuneiform reissued the sooner sextet recording Rencontres on Compact disc, and included upon this disk the Tôt ou Tard songs that also presented Petitclerc and Robitaille. As the 1990s started, Miriodor seemed to possess comfortably resolved into its trio lineup of Globensky, Hudon, and Leclerc using the 1991 Cuneiform Compact disc 3è Avertissement (3rd Caution), which presented packaging almost as interesting as the music; instead of the most common jewel package front-cover tray cards was a square plastic material handbag with six small cardboard cutouts — each one of the three bandmembers and a hammer, paintbrush, and noticed — going swimming inside. Actually, Miriodor would stay a trio for some time longer, but not this trio. In 1993-1994, Hudon amicably eased himself from the globe of Miriodor to pursue a profession in television creation, and in emerged a fresh member, Bernard Falaise, who soon end up being one of the most different and acclaimed guitarists connected with musique actuelle in every its forms: rock-based, jazz-based, experimental, free of charge improvisation — he’d be all around the map with Miriodor and several additional groupings (occasionally combined with Leclerc) for another 10 years and beyond. On Miriodor’s following Cuneiform Compact disc, Jongleries Élastiques (Elastic Juggling), released in 1996, the primary trio was right now Globensky, Leclerc, and Falaise, with Hudon in sort of quasi-bandmember position before his last departure. However the notion of a trio relying totally on digital technology to reproduce the noises of a big ensemble were left out, and “the Incredible Shrinking Music group” today drew on the slew of visitor artists (notably several people of Claude St-Jean’s L’Orkestre des Pas Perdus, including St-Jean himself on trombone, Jean-Denis Levasseur on flute, and Ivanhoe Jolicoeur on trumpet) to include new shades and textures to Miriodor’s sound palette on chosen paths. And Miriodor had not been merely a studio room build in 1996, producing concert and celebration appearances that season in Baltimore, Montreal, and St-Malo (France). Using the group’s music as hard to pigeonhole as ever, it really is interesting to notice that Miriodor’s Baltimore arranged was performed at ProgScape ’96, a intensifying rock and roll showcase, and the in a few days they played on the Montreal Jazz Celebration (earlier celebration appearances got included the Celebration International de Musique Actuelle de Victoriaville in 1988). Obviously, celebration programmers and viewers with differing musical backgrounds and sensibilities had been drawn to the music of Miriodor, it doesn’t matter how their ears may have been preconditioned. The passion of “jazz” enthusiasts is specially noteworthy, as Miriodor’s music is certainly often completely (and intricately) made up, with small to no focus on improvisation. The allure is simple to grasp, provided the music’s ahead momentum, melodic convenience, contrasting moods, and amazing juxtapositions, not forgetting the technical abilities and nimble playing from the players themselves. The trio of Globensky, Leclerc, and Falaise became a quartet in 1998 with the help of bassist/keyboardist Nicolas Masino, which group documented Mekano, released (once again on Cuneiform) in 1991. Saxophonist Marie-Chantal Leclair was also presented prominently upon this Compact disc, including violinist Marie-Soleil Bélanger among the visitor musicians aswell. The primary quartet (with associates collectively in charge of every one of the composing and organizing) along with Leclair and Bélanger after that appeared on the 2002 NEARfest in Trenton, NJ — an obvious creative highlight amidst a ocean of otherwise regular and occasionally bombastic prog rock and roll, Miriodor had been rapturously received with a clear most those in attendance and asked back from the organizers for any NEARfest pre-festival display in 2003. The bandmembers continued to be energetic in 2004, composing and documenting music for another Cuneiform launch with visitor involvement by Swedish composer/accordionist/keyboardist Lars Hollmer on many songs, aswell as traditional bassoonist Lise Millet. The studio room Compact disc was issued within a two-disc bundle in 2005; Parade + Live at NEARfest contains on its second disk the band’s whole established (blended by Bob Drake) that acquired garnered such justifiable passion at NEARfest 2002. And in 2005 — 25 years after Pascal Globensky and François Émond produced the initial incarnation of Miriodor — the group was back front of viewers on the Gouveia Artwork Rock and roll Celebration in Portugal, membership displays in Montreal, as well as the Guelph Jazz Event in Guelph, Ontario. These concerts presented Ipso Facto violinist Chantal Bergeron as an alternative for the departing Marie-Soleil Bélanger, as well as the band’s Gouveia arranged included visitor looks by Lars Hollmer and Belgian bassoonist Michel Berckmans. In Sept 2007 Miriodor performed at Le Event des Musiques Progressives de Montreal — became a member of on-stage by Hollmer on accordion during “Talrika,” a structure he published for Parade — and 2 yrs later were planned for a come back engagement in the FMPM in Sept 2009 to execute music off their seventh Cuneiform Compact disc, Avanti!, released in-may of that calendar year. They preceded their 2009 FMPM appearance with a patio show starting for Truck der Graaf Generator on the Celebration d’été de Québec in Quebec Town in July, using the music group joined up with on-stage by saxophonist Pierre Labbé, who acquired added fiery tenor saxophone to Avanti! Labbé also performed with Miriodor when the group performed a couple of months later in the FMPM, in what ended up being the last demonstration from the event, whose promoters announced the event’s end — despite its developing popularity and achievement — soon after the last records were heard through the stage. Approximately concurrent with the ultimate FMPM, the ProgQuébec label released Live 89, a assortment of live Miriodor paths recorded from the Globensky/Leclerc/Hudon trio edition of the group twenty years previously. In nov 2013, Miriodor came back with another fresh studio room recording on Cuneiform, Cobra Fakir, which discovered the music group time for a trio lineup that harked back again to the Jongleries Élastiques period: Falaise, Globensky, and Leclerc. Nevertheless, this time there have been no visitor looks, as the trio people multi-tracked several devices — Falaise on guitars, bass, keyboards, banjo, and turntable; Globensky on keyboards, synths, and piano; and Leclerc on drums, percussion, keyboards, and turntable — to graph fresh directions while keeping the complicated, melodic, atmospheric, and interesting sound that’s distinctively Miriodor. Bassist/keyboardist Nicolas Lessard joined up with the music group for the live premiere of Cobra Fakir materials at North Carolina’s ProgDay festival in August 2013, as well as the quartet of Falaise, Globensky, Leclerc, and Lessard also performed a Compact disc launch concert at Montreal’s Le Belmont venue in Oct. By the Might 2017 launch from the properly named Transmission 9 (the group’s ninth recording), Lessard was completely built-into Miriodor as a complete bandmember. With flames, wit, drive, and spirit, Miriodor possess continuing their unconventional musical experience for over three years and counting.

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