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Rouge Ciel

The users of Montreal-based avant quartet Rouge Ciel may be comparatively youthful faces on that city’s experimental and songs scene, however they seem keenly alert to their earliest antecedents in musique actuelle, sketching on influences that time back over 30 years. Yet they aren’t simple throwbacks to a youthful period of Quebec intensifying music, having internalized latest trends amongst their peers and elders, while also manifesting their very own musical personalities and a distinctive collective identification. Violinist Guido Del Fabbro and guitarist Antonin Provost shaped Rouge Ciel (which means Sky Crimson) like a duo in 1996, when both had been still in senior high school. More than the next 2 yrs the group extended in size, getting as large like a sextet but ultimately settling in to the quartet lineup that is present even today: Del Fabbro, Provost, keyboardist Simon Lapointe, and drummer/trumpeter Némo Venba. The quartet’s eponymous debut, documented and released from the Monsieur Fauteux, M’Entendez-Vous? label in 2001, was an exceedingly assorted and accomplished work, balancing complex and thick multi-layered compositions (however frequently paradoxically light in experience) with jazzy improvisation, while sometimes also harking back again to the Quebecois rural folk pastoralism of Conventum, a quartet of accurate musique actuelle godfathers — guitarists André Duchesne and René Lussier, violinist Bernard Cormier, and bassist Jacques Laurin — that created in 1978. Within an interview using the Italian AltrOck label’s Marcello Marinone, Del Fabbro cites jazz-rock and prog rock and roll as particular affects during Rouge Ciel’s early years, aswell as music from the ECM as well as Windham Hill brands. Yet other affects could be noticed by enough time the band’s 1st recording premiered: solid parallels not merely to Conventum but also to early Rock and roll in Opposition rings such as for example France’s Artwork Zoyd (one might remember that the Western RIO collective created in 1978 — as do Conventum — a 12 months that might appear to keep particular influence around the users of Rouge Ciel, actually if none of these had been given birth to however) and a good little bit of Philip Glass-influenced post-minimalism (during “Les Fardeaux d’Hier”). Rouge Ciel’s second recording, also on Monsieur Fauteux, found its way to 2005; Veuillez Procéder exposed further artistic development, including a little more overt jazz and fusion in locations (e.g., the almost 12-minute “Nevrealite Postparapsychophysiologique,” the longest monitor with, unsurprisingly, the longest name), a little more sound and metal affects, chamberesque interludes, and in addition discrete shows of improvisation — although one hastens to include that the music group continued to stay more compositionally concentrated than a lot of it is improvisation-exploring elders in the 21st hundred years musique actuelle picture. All of the bandmembers uncovered mastery of assorted textures through their different instrumentation, Venba switching between drums/percussion and trumpet/flügelhorn; Provost highlighted on electrical and acoustic guitars; Lapointe shifting from piano to electrical keyboards; and Del Fabbro not merely playing violins, but also consumer electronics, turntable, and mandolin (a few of that was also noticed in the band’s debut). Del Fabbro is certainly a solo musician in his very own correct, with two albums released on Ambiances Magnetiques: 2003’s Carré de Sable and 2007’s Agrégats. Because the middle- to past due ’90s Del Fabbro and Venba are also people from the party-ready Fanfare Pourpour, showing up on all three from the big band’s CDs to time (including Karusell Musik, the 2007 cooperation with Lars Hollmer). Venba can be an associate of reggae/dub clothing Organic Sugga, and Lapointe is certainly keyboardist for the musique actuelle-informed quintet Hiatus. Furthermore with their recordings, Rouge Ciel possess made several noteworthy live performances, like the 2008 Guelph Jazz Celebration in Guelph, Ontario, as well as the Sept 2009 Celebration des Musiques Progressives de Montréal, where they premiered brand-new materials off their third record, Bryologie, released by Monsieur Fauteux the next year.

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