vb's picture



Spasmacousmatic / Schizophonia composer (since 1997), helping all unknown and dynamic sounds. Finding his style mostly since 2000, in songs and complex instrumentals with satisfaction in 2003. Fraction of second perfectionism, a productive attitude for this kind of music and action (the equivalent of 9 complex songs albums, 60 compositions in 6 years of work ; 1/16 from one of these albums and then you have a movie soundtrack perhaps). Equally a unique voice, poetic in a malaise that goes in another direction than the music. Sometimes on scene for performance art, rethinking the original music, with a scream-sing voice and a tribal yet unpredictable dance that is both instinctive and in his memory of the fractions of seconds of his music.


Compositeur spasmacousmatique / schizophonia (depuis 1997), en aidant tous les sons les plus méconnus. Trouve son style autour de 2000, en chansons et instrumentaux complexes avec satisfaction en 2003. Perfectionnisme de fraction de seconde, attitude hyper-productive et action (l'équivalent de 9 albums de chansons épiques, 60 compositions en 6 ans de travail ; 1/16 de l'un de ses albums est une trame sonore de film). Également une voix unique, poétique dans le malaise allant dans une autre direction que la musique. Parfois sur scène, en art de performance pour mieux repenser la musique originale autour d'une voix et une danse tribale imprévisible, intuitive et dans la mémoire des fractions de secondes de sa musique.

Discography with free MP3 (320kbps) free downloads : http://www.freakywaves.com/vb/Vincent/music.htm

For updates on news : http://www.facebook.com/pages/Berger-Rond/273557659333920

Vincent Bergeron alias Berger Rond
2012.04.04 – Elle avait raison Hathor
#VVSBR10, protégé par Socan

2011.05.30 – Un doux rêveur dans. Homme Sauvage dit.
#VVSBR09, protégé par Socan

2011.01.03 – [{ }]
#VVSBR08, protégé par Socan

2010.08.02 – Étrange en compagnie
#VVSBR07, protégé par Socan

2009.12 – Forecast Proof
#VVSBR06, protégé par Socan

2009 – Audiomachie / Logomachie
#VVSBR05, protégé par Socan

2008; 2009 - Le savant devait arriver avant songeur
#VVSBR04, protégé par Socan

2007 - Philosophie Fantasmagorique
#VVSBR03, protégé par Socan

2006 - L’Art du Désarroi
#VVSBR02, protégé par Socan

2004 - Casse-tête de l’Existence
#VVSBR01, protégé par Socan
Free Download Version available on Webbed Hand netlabel

Performance art on a Live scene (June, 2010)

Berger Rond - Bruissement de griserie

Dossier de presse (commentaires de compositeurs reconnus)
Comments (mostly from quality composers)

"Surprising horns emerge from the medley, while the pieces flow in and out from soft lulling textures to powerful rhythms, and very defined sound structures form within. Don’t expect that structure to keep its form for long, though, these pieces are continuously evolving and taking the listener by surprise. While one would expect chaos in such an arrangement of so many sounds, these tracks are surprisingly cohesive. The full layers of organic sound lend to each other in the most complementary of ways."

Carthusian Blood (about Un doux rêveur dans. Homme Sauvage dit.)

It is nice to appear in the same list than millionaires rockers like Sigur Ros (Innis) prog rock forces of nature's Emerson, Lake & Palmer. See Mark S. Tucker.
Perfect Sound Forever 2011

"At first I felt this to be like a representation of how this might be performed live. I salute the purity of intention here. It gives great depth and accessibility for the soul. It appears to be the opposite of my own preferred approach, but i do feel a strange kinship that goes beyond admiration of the craft. I feel intensely the groundhog day effect if I listen to the same recording twice. I prefer to reconstruct the experience in my imagination than to listen again. This is as close as I`ve heard in a constructed sound, to something I could bear to listen to more than once. Great work in my humble opinion!"
Donald Gisbey

"I have no idea what to make of this track. I don't present it as jazz. AAJ's 'Saturday, The Fringes' is dedicated to experimental musics that may only have the faintest wisp of jazz, but even this track seemed too far out on the borders. Ultimately, it was just too different not to feature. That, and it made me smile.",
All About Jazz

"[...] here has eschewn some of the earlier more classicalist approaches for a greatly enhanced neoclassicism [...] Rarely is music so discomforting and compelling simultaneously. [...] I'm more than serious when I say that Berger Rond's is an important voice, almost without peer [...] When you feel like traveling from Sun Ra's furthest-out pieces over to Schoenberg, try Berger Rond as a waystation."

FAME : http://www.acousticmusic.com/fame/p07293.htm

"Sincerely, this work is of a real serious dimension. It has reminded me a more concrete Fausto Romitelli. These sounds are a daring combination of erudite tendencies forming a strange and noisy form of dance, maybe a tango. Yes, it's horror, theatrical, but most of all, behind the curtains, there's a real sonic adventure. The guitar's phrases are quite embellishing, same with the violins treatment. The horror expressed here is not on how the marriage of sounds are of a betrayal, but on what the perception refuses to believe that there's beauty in living with ugliness outside an ordered chaos. It sounds to me like an ironic comment on what our perceptions turned out to be after the radio era."
George Christian (about my composition Le gouffre..., 2011, on [{}])

"[...] chaotically sophisticated in unending reversals, variations, and fragmenting floes. Sometimes the storm of madly flitting notes settles into a relative calm of Byzantine swamps, as in Temple Grandin's Cuddle Machine, but even that eventually forms tractor beam vortexes and, before you know it, your feet are knocked out from under you once again [...]", FAME

"[...] The uninitiated will have to fight to access the mad genius of this work but the battle will be worth it. Like Harry Partch, Berger Rond is an unrepentant individualist, one of those who brings the quality of rebellion to its outer limit. The CD's broken up into six songs, but they're really a sextet of movements in a grand opus that meanders everywhere (catch the Residents kinships in Me Detester quand Je L'aime), never arriving. The climax isn't the point, the journey is.", FAME

"For this CD, Berger Rond seems to have turned to an Art Bears mode of dual dedications, first to the early European twentieth century and then to a futurism dripping with archaic antecedents quite apart from the 1900s, almost shamanic. In this highly operatic chaos of unutterable hypnosis, the canvases of leering smecking decadence a la George Grosz and the enfigured grotesques of Giacometti leap out to enfold the listener's environment in an almost creepy replacement strategy…but it's the same modality that Poe, Dick, Lovecraft, and other of the top-flight fantasists excelled in [...]", FAME

"[...] It staggers the imagination to try to discern just how much work must have gone into the creation of each song in the Rond collection. Every piece crafted by this gent is cheek and jowl with the most extreme of the 1960s Nonesuch pioneers and confederates (Druckman, Erb, Wuorinen, that whole crowd) and, perpetually morphing bars and measures aside, is a madhouse of second-to-second tectonic shifts. Yet it all hangs together beautifully……if, that is, your conception of beauty can stretch that far. This is crucial. I suppose the most apt label for most of Vincent Bergeron's work would be 'electro-opera moderne fantastique', with a sly grin for the 'electro' aspect, as it's only his crazed pastiching which imbues this aspect. With few exceptions, every note heard is first played by a human being and then transmogrified through sampling and placement. Here, Bruissement de Grisere becomes thornily liquid in a striking counterpoint to the gent's usual wont, demonstrating just how bizarrely acoustic sound can lose its characteristics when cut and pasted against perceptual norms. If norms, however, are what you're seeking, then I advise that you turn back now and sprint for the horizon, because Audiomachie / Logomachie shreds all accepted modes except the hallowed gist of the last wave of the 20th century's glorious lunatics seeking portals beyond the death of a planet through what is rarely mentioned in aesthetic purviews but quite nicely embraced by Bergeron himself: "…it would be worth it to kill capitalism. And why not? Capitalism has killed everything else, including and most especially art and the imagination." FAME

"[...] Savant is the most abstract while simultaneously highly lyrical. I'd say it's also the most accessible, but that's an extremely loaded judgmental adjective assuming a wide-ranging erudition on the part of the potential audience. With this disc, though, the eccentric gentleman takes his place among the foremost practitioners of the still-emerging art damage crowd (Patton, Kenneally, Oppedisano, Zappa, Creedle, etc.), artists wrestling the extremely unmanageable form to the ground, rushing to stay ahead of a transmorphing beast lacking definition but loaded up with endless rows of fangs. I'll assume that Cage, Stockhausen, Xenakis, Subotnick, and other pioneers would (or will, if living) be impressed with the ingenious and audacious convolutions in Berger Rond's fare, because if they wouldn't, then I and many have sadly misestimated their appetites and perceptions. In any event, why trust to dead celebrities when you can hear for yourself? And by all means do." FAME

"[...] It's 100% unnecessary for this music and may lead to a condition that even Marcus Welby, Dr. Jekyll, or Gregory House would be unable to diagnose. The disc is, however, perfectly suited for howling at the moon, attempts to walk on water, and unceasing torrents of inspired Beefheartian babblalia. Swedenborg would be struck dumb and Blake would attribute the affair to mad angels and overeducated demons. You, however, may get a leg over on them, resting assured that this is classicalism recapturing a neo- era that still has not ended and is, by evidences here abundantly enshrined, getting its second breath." FAME

"[...] Spasmacousmatic is probably the best adjective to use for this jerky but attention-grabbing music. Involuntary movements are it's inspiration and it's Muses, and you will feel yourself sucked into the vortex, possibly reacting physically after a while. I have no idea how or why this works, it just does. It's like trying to make love standing up in a hammock; difficult, but ultimately very rewarding."

More from the independent and productive spirit of Vincent Bergeron. 'Instruit Mental' is a compilation with a selection of eight titles coming from five albums Bergerond created between 2004 and 2009. Also two tracks are included from his new one: 'Audiomachie/Logomachie', namely 'Audiomachie' and 'Bruissement'. But as the title from the compilation indicates, in these two as well as the other six pieces voices are left out. This makes it possible to concentrate more on the rich and detailed multidimensional soundstructures built by Bergeron.
'Audiomachie/Logomachie' contains six songs composed and created in the first half of 2009. It is another proof of Bergeronds very unusual musical vision Again Bergeron is helped by several collaborators like Frederic Szymanski (bass), Dan Stearns (ukelele) and others. Special mentioning deserves singer Viveka Erikson (Laidbackviv). What a voice! Erikson sings in a way that betrays that she is a experienced singer in the field of jazzy - billie holliday-like - repertoire. Great voice and a very beautiful and fitting counterpart to the bizarre orchestrations of Bergeron. These are very edgy and angular, whereas the voice of Eriksson is very warm and round. Bergeron uses - relatively long - soundsamples, often derived from acoustic instruments, capturing all the sonic qualities of acoustic sound. With these samples he orchestrates and embodies his songs. The samples are 'copied and pasted' in dramatic songstructures, leaving you with the impression of witnessing otherworldly, archaic,
mechanistic music. Strange and alienating on the hand, at the same time this theatrical music is very straight forward and addressed to the listener. In a way it is very accessible and 'comprehensible'. Bergerond explains that this project is "about trying to explore different poetry styles". This is funny, as I cannot immediately connect his music with poetry. But that may be due to my lack of knowledge of the english and french languages. (DM)”


"For several years now, the music of Vincent Bergeron (who seems to have dropped his real name in favor of the Berger Rond alias) has been the most disconcerting I know. Each piece by him is an incredibly destabilizing construction of notes, chords, and lyrics that somehow should fit together ? and most probably do, in the fifth or sixth dimension, the problem being that our ears only perceive three. Audiomachie/Logomachie picks up where Le Savant devait arriver avant songeur had left: key role for singer Viveka Eriksson, a predominance of strings, melodies even more deconstructed than before, music even more monolithically hermetic than before. So what am I to do with such a UFO? Listen to it, again and again. For either Bergeron is a total madman or he?s a genius hearing music in more dimensions than most of us can."

François Couture from All Music Guide

"A new song cycle by this Van Dyke Parks of the 21st century. An absurd 'musical' in form and content. [...] It is another example of his extraordinary plunderphonic talent. [...] For some reason I have to think of musicals all the time. In a way he creates songs often sung in a duet with Viveka Eriksson. This makes his music very accessible and physical. Besides, in most tracks Bergeron is helped by several 'real' musicians: Marco Oppedisano (guitars), Marco Rosano (saxes, clarinet), Jörg Fischer (drums), Jurica Jelic (guitar), Frédéric Szymanski (piano), Tiny Orchestra (primitive feel), Markus Breuss (trutruca), Thilo Schacht (noise) and Gregory Jacobsen (noise). The characteristic voice of Bergeron is most of the time in the forefront. The far better voice of Eriksson too a lesser extent. 'Sexy Worm Book' is the exception on this cd. It is a purely vocal piece performed by both, somewhere between speaking and singing. Very expressive and dramatic this song illustrates the backbone of Bergeron's music. It proofs that the sampled make-up is not always necessary. On the other hand his sampled orchestrations of the songs are for sure what makes his music incomparable with anything else. The music also makes the impression of being strongly narrative. [...] most comes from the creative mind of Bergeron, mixing old and new material and musical procedures in a very original way. Please do invite this strange angel at your table. (DM)

Vital Weekly

"Combining musique concrete with pop and jazz, Vincent Bergeron sounds like some kind of French-Canadian-outsider-Van Dyke Parks-cum-Richard D. James. His brilliant chopped-up and irrational arrangements are as beautiful as they are jarring."

Pop Montréal 2009

“A melodic chaos. Spastic, sporadic, Bergeron's bilingual poetic soundscapes reflect the impermanence and frenetic pace of our society. Categorically musique actuelle. ?”

Pop Montréal 2008

“Vincent is both oddly catchy and amazingly devoid of cliche.....or, like all the greats, his cliches are those of his own making......all those odd little cells that seem to blossom before your ears out of both repetition and anti-repetition as well as tonality and anti-tonality. This method of organization, so peculiar to Vincent, is exhilarating in its brashness and innocence but hyper-sensitive as well to the hope of not repeating itself indefinitely, as Vincent is constantly pulling at his own habits and comfort zones without disowning the honest, DNA-like place they seem to emanate from .
one of my personal faves------>check this music out!”

Dan Stearns, compositeur

“Quelle découverte ! je n'ai pas entendu beaucoup de titres aussi originaux et personnels... bravo... C'est tout ce que j'aime: une sorte de perdition, un voyage au milieu duquel on ne sait plus trop ou l'on est, ni qui l'on est, et encore moins d'ou provient ce que l'on écoute, si l'on doit rire ou pleurer ou les deux en même temps ... Ta musique produit diverses émotions très rares, voire assez inédites et contradictoires, qui ont à voir avec le brouillage de toutes pistes connues... réellement très inventif ! Une sorte de T. Kantor de la musique... bravo bravo !”

Yann Guéguen, compositeur ; http://www.myspace.com/yanngueguen

“Vincent's music is nothing like you'll ever hear. The world is at his fingertips, manipulating what appear to be incongruous sound sources, masterfully combining them both vertically and horizontally and creating his own world where there are no rules, but only his.Listen to his voice and you can't help but notice the unique individuality. His voice reminds you there is a person behind all this. A person with something beautifully strange, and unique to say. A master of deconstruction.”

Marco Oppedisano, guitariste

“Vincent - c'est enorme - ton reveil - awakening. en l'ecoutant des hordes de robots de 20cm et autres poupons à piles ou poupées à cheveux auto-poussants se mettent à sortir des coins et des placards et des sourires coquasses, des grimaces de dents d'acier , des yeux rouge clignotants ou des braves joues cicatrisés se joignent tous pour avancer avec une decision commune terrifiante - (nom de dioo! - pourquoi je dis ça? ) tes sons sont sublimes, les constructions sont superbes et le chant est un coup magestral xx jess (je sens que j'ai raté l'esentielle donc je reviendrai....)”

Jessica Constable, collaboratrice d'Andrea Parkins, soeur de Zeena Parkins (harpiste)

“I've finally got the chance to listen to your music properly and must say that I have really enjoyed the experience. Your approach, production and sound world are very individual, as is your voice, which I like and think is wholey suited to your music, all in all creating something quite unique. I love your frenetic and kwirky sound world; something quite refreshing and different in a world of music so often full of the same old sounds.”

Marc Yeats, compositeur

today I listened to two earlier albums of yours (the ones produced in 2003-2006) and the 3 tracks from the most recent one. I enjoyed almost all tracks a lot! And I'm sure when listening more, I additionally will comprehend the "song" qualities in what you do... I'm sure some of the melodies therein have the potential to become an Ohrwurm for me.
I had one thought, particularly when listening to the newer material (which seems to burst of self-confidence!): Beefheart's "Trout Mask Replica".
I don't suggest your stuff sounds like that, but what I feel some of your creations have in common with that masterwork: disparate elements combined are resulting in a music that offers entirely original and astoning esthetical qualities.
Which music from the past makes me sense air from the "planet" your music comes from? Well, there is a little bit, but more or less very distant - anyway not much. And yet, what you do is so spot on, and... plausible... somehow feels so natural and right... - "restructionalism" in a highly personal approach; that's a very rare quality, and I'd say your music has that in common with the good old Captain's masterwork.
Truly outstanding.

Let me add that I consider "Trout" to be my favorite "rock"-album ever.”
Jörg Fischer, collaborateur

“Allons bon ! je n'avais pas encore écouté les autres. Là ç'est trop : je n'ai rien à dire sinon penser à cette qualité et ce plaisir d'écoute de ce mélange de tas de choses qui me rappellent mes plus jeunes années : Robert Wyatt, Gong, l'électrocoustique bien sur et une merveilleuse maitrise de l'association sons instrumentaux et sons travaillés, Mille fois bravissimo! Allez hop retour dans mon top Vincent !”
Gilles Dumont, professeur de musique à Nanterre

“In the course of a lifetime, one encounters very few major musical talents. Vincent Bergeron is one of those few, a unique composer who is at the forefront of musical thinking. I respect his music professionally and I admire it personally. I find it deeply impressive on every level--musical, intellectual, and emotional. In my opinion, Bergeron has had the vision and ability to create richly complex yet immediately accessible music that is both new and natural with beautiful harmonies, melodies and textures. Bergeron's compositions precisely mirror my view of what new music ought to be”
Noah Creshevsky
Professor Emeritus, Brooklyn College of the City University of New York
Director Emeritus, Center for Computer Music at Brooklyn College

“No matter how versed you are in experimental music, you have never heard anything quite like Vincent Bergeron's Casse-Tête de l'Existence (Puzzle of Existence). Imagine, if you will, plunderphonics coupled with progressive rock, and sample deconstruction and sound collage used as techniques to assemble hiccupping operas [...] the result sounds a lot like a bloodbath at a prog rock convention -- or the digital bastard child of Peter Gabriel-era Genesis and Fantômas. [...] If the basic material tends to give a unique orientation to each piece, it seems there is no limit to what Bergeron can make his samples do. Profoundly disturbing but ceaselessly fascinating, Casse-Tête de l'Existence is oddness to the umpteenth degree. Obviously, the world is not ready for this.”
François Couture [All Music Guide]


Quebec, Canada


Listen to vb's recent audio files
Member for
8 years 51 weeks
View recent blog entries