15.3. MARTIN TETREAULT / DIANE LABROSSE

[kubu]

DIANE LABROSSE & MARTIN TETREAULT


Do. 15.03.2007, 20.00h


Kulturbunker Mülheim
Berliner Str. 20
51063 Köln
http://www.kulturbunker-muelheim.de


Diane Labrosse
vs.
Martin Tetreault
(beide Montreal, Canada)
-- Elektroakustik, Turntablism, Noise --


In der Reihe "bunkerfrequenzen"


Zwei wichtige Figuren der kanadischen OFF-Szene sind zu Gast im Kulturbunker. Martin Tetreault ist ein Tausendsassa am selbstgebauten Turntable: er knistert mit Vinyl, seziert Innereien seiner Gerätschaft, hantiert mit federn und allerlei Haushaltsgerät und malträtiert Schallplatten ohne Rücksicht auf Verluste. Diane Labrosse steht im nicht minder entschlossen und vehement zur Seite. Auch sie fabriziert Noise mit Mischpult, Computer und Electronics; gar nicht lieblich, gar nicht "schön". Aber in der Rauheit der Klänge und der Überraschung des Aufeinanderpralls liegt der besondere Reiz dieser Performance. Nicht verpassen, es passiert so schnell nicht wieder!!!


LABROSSE/TETREAULT


This improv duo creates a new generation of Parasites! Labrosse has given up referencial phrases and works only with abstract elements while Tétreault has abandoned the use of LP's and turned to the turntable's intrinsic sound potential.


Diane Labrosse (Montréal, 1950) residence: Montréal


composer/performer (sampler, accordion, vocals)
Diane Labrosse takes pleasure in juxtaposing lyricism and absurdity, harmony and dissonance, and structure and improvisation. Her fascination with unconventional sounds naturally led her to digital sampling, to which she brings a bruitiste approach. For the last fifteen years she has regularly appeared on contemporary, improvised and avant-garde music stages both in Canada and in Europe, where she has appeared at a number of important festivals.
A founding member of Justine, she has also worked with Joane Hétu and Danielle Palardy Roger, in Les Poules and Wondeur Brass. She is presently involved in a number of other projects, including Île bizarre with Ikue Mori and Martin Tétreault, L'oreille à Vincent with Christof Migone, Michel F Côté, Martin Tétreault and sound sculptor Jean-Pierre Gauthier.
In 1998 she and Michel F Côté wrote the music for Robert Lepage's play La Géométrie des miracles, an Ex Machina production. Labrosse and Côté also wrote and were on stage to play the music for Lepage's Zulu Time, a techno-cabaret performance at the Theater Spektakkel in Zürich in 1999.
In recent years she has been especially active, creating music for dance (for Gilles Simard, Catherine Tardif, and Andrew de Lotbinière Harwood), for the theater (Thirty-eight tales from Shakespeare), for the cinema (Montréal vu par…, Pendant que les arbres tombent, L'Entrevue and Plan de fuite) and for radio (Le Navire "Night" and Les décrocheurs d'étoiles).
In 1997 she received a grant from the Canada Council for the Arts to write a work for thirteen instruments that Espaces Sonores Illimités commissioned for the Symphonies Portuaires. She also obtained a grant from the Conseil des Arts et des Lettres du Québec to write a work for the Toronto quartet The Burdocks that was first performed in January 1999.
She has been featured on over twenty recordings, including Petit traité de sagesse pratique (2000) and Face cachée des choses (1995), her two solo albums; Télépathie (2003) with A_dontigny; Prairie orange (2002) and Les contes de l'amère loi (1986) with Les Poules; Parasites (2001) with Martin Tétreault; Île bizarre (1998), with Martin Tétreault and Ikue Mori; Langages fantastiques (1995) and (Suite) (1990), with Justine; Duo déconstructiviste (1994), with Michel F Côté; and La légende de la pluie (93), with Hétu, Parkins, Roger, and Tenko. She has also collaborated on compact discs by Jean Derome, Joane Hétu, Danielle Palardy Roger, Michel F Côté and Geneviève Letarte.
Diane Labrosse is an artistic co-director at Productions SuperMémé and her work is available on the Ambiances Magnétiques label.


Martin Tétreault, an internationally-renowned Montréal DJ and improviser, originally came from the milieu of the visual arts. His path has been marked out by various productions on compact disc and live performances with a range of collaborators: Diane Labrosse, René Lussier, Jean Derome, Michel F. Côté, I8U, Otomo Yoshihide, Kevin Drumm, Xavier Charles, Ikue Mori, and many more. He has abandoned the musical citation that he had been using in his work since he began in 1985 and now explores the intrinsic qualities of the turntable: the sound of the motor, of interference, and so on. He also uses needles, prepared surfaces (with thanks to John Cage), and small electronic instruments. The bruitiste approach of remaining analogical has allowed him to leave behind the question But what about royalties? and to get himself invited to electronic-music events! When he feels the need for a break from music, he goes back to the visual arts, where he sands, scrapes, cuts up books and magazines, and so on.