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Flute, clarinet, saxophone, percussion, piano, violoncello, guitar. Keyboard Grande toccate-sonate barbare.

RCI Petrowska. Bass, keyboard, percussion. Soprano, flute, guitar. RCI P. Optional speaker, bass, soprano, mezzo, small orch.

Also works in collaboration with V. Dionne and the Groupe des sisses See W. L'Heureux, Christine. Search The Canadian Encyclopedia.

Remember me. I forgot my password. Why sign up? Create Account. Thank you. Your message has been sent. Accessed 03 August An album that starts as a decent effort of Electronic Music with both dark and ethereal movements, ends up to be a hard experimental listening even for the mystified fans of the genre.

Review by philippe Special Collaborator Honorary Collaborator. The over half of the tracks come from Parade, which appears to be the better albums of the two, at least the more acoustic and instrumental as opposed to Destinations' programmed and synthesized production.

Indeed the lead-off title track of this compilation is a very new-agey piece as is the solemn Jardins De Roc are from Destinations and Oregon's Paul McCandless's wind instruments won't change much to the overall feel.

Much less by accident and much more by design and not quite as subtly either is Ocean Tears' riff-in- seven also coming from the same album, and maybe being my fave track from the album.

One of those hundreds of album of the ethnic fusion genre, none better or worse than this one, but not really essential and a far cry from the superb D-B duo's essential works , unless a die-hard fan of this genre.

There will be another three Leclerc-inspired tracks, including lugubrious and gloomy Les Mouillures the wettings , En Muet in mute on a cool jazz guitar, and much later in the album, the short Qu'Ont Vus Tes Yeux?

The up-tempo but tense Charles Trenet-inspired of all people La Folle Complainte is clearly another highlight, where singer Jacques can really show the wide mood ranges he is capable of, but the whole group jazzes meanly.

L'Intersection coupled with a short Couvre-Feu curfew is a stunning full-out MPH jazz-rock foraying into avant- prog with some wild female scats, and is yet another nail into your coffin, especially when reaching the martial Couvre-Feu part.

Excellent but not easy. The closing and menacing Sur Le Balcon on the loggia with Dionne's vibraphone is yet another highlight.

The ProgQuebec reissue comes with a bonus live recording of the group prior to this album's recording thus showing that most of these tracks were indeed much anterior to the album's release in June 77 at UQAM University.

Almost all of these tracks will be presented on Pour Partir Ailleurs, which in a bit deceiving, but it is interesting to compare the work-in-progress versions, where Longs Voyages and Intersection are the best, but cannot compete with the later studio versions.

Not really bringing that much of added value, these live tracks as well as the album per se will be of interest to those that have a good mastery of French, but it is not absolutely essential, either as the music is stunning enough to be worth the investing price alone.

With the integrality of both albums remastered read the respective reviews on the album page , this re-issue also has a pair of unreleased tracks, one of which is a Stockhausen percussive piece recorded pre-D-B time in 74 and the other a very Tangerine and Jarresque fusion.

Quite a stunning close to this double set. This "anthology" is simply one of the moments' best reissues and is absolutely necessity for all Krautrock fans and especially those into electronic music.

I cannot stress this enough that such works are re-discovered imperatively by all type of progressive music-lovers.

Much more interesting than the rather empty Tubular Bells or Incantations, much more enthralling and Froese's Aqua or Ash Ra's later 70's music and much more convincing than Vangelis' Earth, this album is an altogether more accessible album than their debut collaboration, but just as stupendous even grandiose, but never cheesy in its own way.

Well this second album is greatly different from its debut, but in its own way, is just as essential. A third album was foreseen and partly written, but apparently not really recorded except for one great track in the same genre as Deux for a soundtrack, and is presented as a bonus on the re-issue.

Do this sound incredibly good? You betcha!!! It even trounces some of the genre's best works, slapping most of Krautrock silly for not coming up with such evident, implacable and astounding yet so simple music.

The first side of the vinyl is made of the self-titled suite and approaches perfection that even the best could NEVER match.

From the two parts Chant D'Espoir with the tears of joys guaranteed with Pauline Vaillancourt a superb soprano in its second pazrt abd the very evolving Resurrection start from percussive to end up symphonic , this album is simply awesome and flawless.

Burt let's face it, there is part of reconstruction because the master tapes were simply not well kept and parts had to be taken from the vinyls.

How can a second side succeed to such a perfect predecessor? By being completely different, of course, and D-B makes sure they did that right.

The mood is more dedicated to free almost improvised percussions with gloomy nightmarish electronic ambiances like Eno, Schulze and Froese, or even Ralf And Florian Kraftwerk or the other Florian Fricke of the early Popol Vuh albums.

This album is certainly schizophrenic, and if on the first side Vincent was at the service of Michel Georges, on this other side, M-G is at the service of Vincent.

And while again, not really groundbreaking, they manage to take the musical genre to perfection. The music is often gothic and cosmic-psychedelic the way Floyd was in the UmmaGumma studio album , and is as strong as Zeit or Affenstunde.

While the proghead might appreciate better the first side, they will certainly concede that the second is not far behind, even if in a completely different ballgame.

Is this album among the best Krautrock?

This album is certainly schizophrenic, and if on the first side Vincent was at the service of Michel Georges, on this other side, M-G is at the service of Vincent.

And while again, not really groundbreaking, they manage to take the musical genre to perfection. The music is often gothic and cosmic-psychedelic the way Floyd was in the UmmaGumma studio album , and is as strong as Zeit or Affenstunde.

While the proghead might appreciate better the first side, they will certainly concede that the second is not far behind, even if in a completely different ballgame.

Is this album among the best Krautrock? In your best ten, most likely, once you've discovered it. Copyright Prog Archives, All rights reserved.

Please consider supporting us by disabling your ad blocker. Jacques sang those texts with great liberty of adaptation, being very dynamic ranging from whispering to yelling with a great voice.

Their sonic illustrations were fairly dramatic, jazzy, gothic, sometimes fraying into free-jazz improvs, unique, inventive at the time, but still sounds quite uncommon today and dare I say it: progressive.

The whole album is filled with impressive compositions that sounded quite innovative for the times. It is only after this collaboration ended that the brother reunited the group in 79 although there were no saxes this time, but with Vincent Dionne on percussions to record their second Pour Partir Ailleurs for going elsewhere which repeated the formula of their first album, this time making emphasis on Leclerc who had become Quebec's soul and an icon only rivalled by the older Gilles Vignault , even if the album is rockier, but stays very progressive with dark and haunting atmospheric moments and elsewhere pointing to avant-prog.

This second album got a recent reissue with ProgQuebec, as probably will their first one soon. Michel Georges went on to compose electro-acoustic modern classical music for much of the 80's before sadly leaving us in Their first album 75 is divided into a schizophrenic concept and is simply astoundingly unknown, but in its genre is simply much more than awesome, simply mandatory listening.

Their second album is definitely a more immediate record with most of the tracks being voluntarily shallower such as later Kraftwerk and with intent, but is certainly completely different than the usual Quebec "prog" album.

And some 13 years later, his efforts are fully rewarded, as the two albums are now re-issued on XXI but helped out by ProgQuebec.

Dionne will then return to his modern classical music, sometimes recording avant-garde collaborations, until the late 80's when he will meet OREGON's Paul McCandless and release an ethnic fusion album Destinations 88 that forayed into new age music.

His next album, Parade, was released in 91 and while being fairly similar in musical realm, it is a much less synthesized album.

Studio Album, 3. Studio Album, 4. Having never heard either of those albums, I can't possibly tell you if the choices made are judicious or not, but we shall let Vincent be the judge.

Both albums were ethnic fusion albums with a slight new-age twist that could be easily confused as an ECM label release. Pierre Cormier Congas. Guy Hubert Cover.

Studio Graffiti Cover. Marc Desjardins 2 Design. Christian Julliard Executive-Producer. Margot Morris Harp. Denise Fahroud Management. Alain DeRoque Mastered By.

Pierre Dubord Producer. Johanne Arel Violin. Raymond Dessaint Violin. Add Review progfan October 11, Report. The son of the first Ulrich was Saint Gebhard , born in He became the Bishop of Konstanz.

In around Hugo of Tübingen Montfort founded a town settlement first documented in , enlarged it in the 13th and 14th centuries and from to The city was sold in , and again in , to the Habsburgs and continued under Austrian rule, with a brief occupation by Swedish forces under Carl Gustaf Wrangel during the 30 Years' War , until the 19th century.

Bregenz was under Bavarian rule from to From to , the harbour on Lake Constance was built, then enlarged in and from —, and Austrian ship service was inaugurated in Railway services have existed since , and since across the Arlberg massif.

Since , Bregenz has been the main seat of Austrian administration in Vorarlberg Obervogtei , in Kreisamt , since seat of the Landtag, since seat of the Landeshauptmann.

Rieden-Vorkloster and Fluh were incorporated into Bregenz in and , respectively. The town was bombed by the Allies in , and 72 houses were destroyed.

Sights in the district of Vorkloster include the Maria Hilf parish church —, by C. Holzmeister, interior from and the Cistercian monastery of Mehrerau.

On the Gebhardsberg rock are remains of the fortress of Hohenbregenz destroyed by the Swedes in Honorary consulates of Finland and the United Kingdom are located in nearby Lauterach , and an honorary consulate of Brazil in nearby Hard.

Bregenz is home to four Gymnasium secondary schools, a commercial college HAK , a technical college HTL , upper secondary business schools Höhere Lehranstalt für wirtschaftliche Berufe , three Berufsschulen vocational schools , crafts colleges, the Academy of Social Sciences, and a nursing school.

Others include: an adult education centre, school boarding houses, state archives, a state library, a state museum, Kunsthaus Bregenz modern arts centre , Künstlerhaus art centre , Thurn und Taxis Palace, five monasteries, Heimatwerk autonomous institution fostering the manufacturing of traditional craft products , and various newspapers.

Festival and Congress centre, Theater am Kornmarkt, casino, harbour for sailing boats and yachts, cable car up onto the Pfänder mountain.

The economy is mainly dominated by small businesses in the services, trade and industry sectors: these include the textile industry Wolford AG , fittings manufacturer Julius Blum GmbH, glass processing and machine construction.

Bi-seasonal tourism is important; a major attraction is the Bregenz Festival since , floating stage since , modernised in , Festival and Congress Hall in , winter sports on the Pfänder mountain.

The annual summer music festival Bregenzer Festspiele is world-famous, taking place in July and August each year on and around a stage on Lake Constance.

This festival attracts more than , people every year to Bregenz ,, , and has a budget of around EUR 20 million.

In the opera will be Rigoletto by Giuseppe Verdi. In addition to playing on the lake stage, orchestral concerts and operas also take place in the adjacent festival theatre.

There is also a children's and youth program during and before the beginning of the festival. The lake stage Seebühne is the largest open-air theatre in the world, with an audience capacity of around 7, It is the successor of the New Orleans Festival , which took place from to , during the early summer, in the inner city of Bregenz, and which was no longer supported by the initiator Markus Linder.

In addition to the change of name, there was also a musical genre change from blues to jazz.

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