pink saliva
hardcore: la brique


Pink Saliva - track from 'Hardcore: La Brique' by bugincision  


La renonce.
Toute une attaque, pourtant, la renonce. Les chiens s’amusent, pourtant, la renonce. Au-dessus du balcon pend le lapin, pourtant, la renonce. Et de ce que nous voulons, rien n’en découle.

Cette démission n’est point voulue. Sa présence, pourtant, inéluctable.

Pink Saliva n’est pas le trio qui nous donnera le premier véritable porte-voix pour le trompettiste Ellwood Epps. L’électronisme des Alexandre St-Onge et Michel F Côté brouille les pistes. Un Klaxon Gueule (version Infininiment) plus sale, plus brusque. Un Mecha Fixes Clocks plus improvisé, moins orchestré. Un Pink Saliva plus authentique. Plus précis que le Hardcore: La Brique (Bug Incision, 2009) plus concis que l’auto-produit de 2008 (ou 2009?). Une première version définitive d’un ensemble aux vastes possibilités. Et de ce constat. Et de cette renonce. Une prime.


from Touching Extremes:

Half an hour of improvisations recorded in 2008 at Montreal’s La Brique in front of a few fervent stray cats by the trio of Gordon Allen (trumpet), Michel F. Côté (drums, feedback) and Alexandre St-Onge (electric bass, laptop). The first track evolves from a thick sludge of moderately dissonant layers – abounding in piercing pitches and assorted noises – into a restrained crescendo of inside-the-wall screaming and sparse drumming, the whole entirely accompanied by Allen’s mutating squeals. The following episode begins with what sounds as the jangle of a detuned guitar (perhaps a sample from the computer?) transiting through a snarl-and-growl phase to end within a regular rhythm sustaining more wailing and distortion in a sort of post-post-post rock ritual. Picture a small group of Glenn Branca alumni trying a rendition of Tony Conrad’s Outside The Dream Syndicate. After some words exchanged with the attendants, the last minutes are characterized by a previously unheard subtleness, the musicians performing at the edge of audibility but still preferring slender harmonics, overdriven threats and near-subliminal melodic designs – plus some horn-derived babbling when needed – to the easy glory of posturing. The lo-fi recording quality notwithstanding, good stuff all the time.

Massimo Ricci