| $79.53
back in stock as of
march 18th, 2009
first in stock on
may 27th, 2008
threads:
1980s-electronic
electro-acoustic-composition
musique-concrète
plunder-phonic
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| | | amaryllis (canada) #ama 84001 lp bernard bonnier “casse-tête” long playing record - «i can’t sing ...» (6:07)
- le grinçant mr. smile (5:15)
- vero-la-toto (5:28)
- blue marine (5:12)
- la demoiselle au corsage vert (7:13)
- italian junk food (5:30)
- soldier boy (11:22)
| march 2009 ; managed to upturn another small cache of these ...
... this ought to turn a few heads ... yes, you’re reading this correctly. on offer ; original, sealed, unplayed copies of the 1984 lp, c/o bernard’s son ludovic. seeing as i paid over $100 for my battered copy, i’m going to say this is a good deal, esp. if originals are more your bag than cd reissues ...
regarding the music ::
jackpot! one of my all-time favorite outsider musique concrète / pop crossover gems - now seeing the contemporary light-of-day thanks-for-like-the-umpteenth-time to mr. p.c. c.p...
this one might need a little bit of justification for those of you not exactly jazzed about the concept of a late 70s canadian perrey & kingsley style melding of the electronic avant-garde(s) and... disco-funk. i’ll start by reminding you that mr. bonnier here was responsible for the “realization” of pierre henry’s “cortical art 3” - meaning that he was the one turning the knobs and flipping the switches during that fateful evening back in 1973. what ever happened to mr. bonnier, you ask? well... much like henry’s prior assistant, eliane radigue, bernard went on to compose and produce music of his own using the skills that he learned at apsôme and elsewhere within the french electro-acoustic studio system...
the difference between ms. radigue and mr. bonnier? bernard decided to make a “dance music” record (and i use the term “dance music” lightly here...) using his musique concrète skills/cv... and what a monster pastiche of seemingly in-compatible threads; the field recordings (long stretches of luc ferrari style documentation), synth-weirdness, and epic tape-manipulation(s) of the ina-grm school of composers in a möbius-strip lock-meld with quebecois mid-70s “jerk” (bonnier moved to st-jean-chrysostôme shortly after “cortical art 3”) yielding something even more bizarre than any number of jean-pierre massiera (another francophile experimental electronic/pop music nut; see maledictus sound, horrific child, etc...) productions.
parts of this sound like liquid liquid covering bo-anders persson’s “protoimperialism”, others like jon appleton’s “chef d’oeuvre” recast for zombie-crooner micro-groove lps played through david jackman’s wind-tunnel-of-the beyond. there’s really something in here for just about everyone... hell, even what with my own disaffection for most kinds of dance music this really pushes a few of my very hard-to-get-at buttons (namely the drum-groove-slowly-phasing-out-of-time-in-full-stereo-spread one...)
it’s clear that bonnier was having a great deal of fun throughout, and in fact it’s one of the more fun/friendly entries into the creel pone canon... but don’t let that stop you from checking out just one hell of a weird early-electronic / one-man-against-the-world jam. lovers of sound rejoice ... |
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| | amaryllis press release... |
| musiciens:
bernard bonnier: synthétiseurs, programmation, percussions, sons concrets, et tous gadgets.
michel mercier: percussions.
enregistré et mixé par bernard bonnier aux studios amaryllis, st-jean chrysostôme sauf «soldier boy», aux studios apsome, paris.
contrary to an electronic music delighting itself in soaring above reality in self abstraction, the concrete music of bernard bonnier has a down on earth hearing, and a dancing too, although now and then out of beat.
bernard bonnier has defined chameleon-music as: «...a mime* trying to beat its parth through the puzzle (casse-tête: literally “head-breaker”) of soliciting madness, sundowns, violence, science, love, death, velveeta* cheese, competition, sex, zen, and mandragora.»
this must be true as well of soldier boy, an issue to the motion: “nothing lost, everything regained”. each and every single sound hear trough this piece has been made from the loop “tell me why...” by means of electro-acoustic manipulations, the mark of bernard bonnier’s concrete music.
following the steps of pierre henry, bernard bonnier has been a forerunner to new-wave, and other “underground rock” music.
aulnes périn february ‘79 |
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