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Forecast Proof
(Berger rond, #VVSBR06) (2009) SOCAN 1) Le boxeur travaille son épure..et ment (8:43)
(42:33) Maintenant disponible sur cette page de freakywaves
Everything was essentially composed during the last 6 month of 2009 and is protected by SOCAN (ASCAP in the U.S.) "A new work by the productive mad scientist Vincent Bergeron. I had the luck of reviewing some of the earlier work of this Canadian artist for Vital Weekly: "Philosophie Fantasmatique", and more recently "Audiomachie/Logomachie" and "Instruit Mental". All of them excellent examples of a true innovator and free spirit. The last was one was a compilation of earlier works left without the voice of Bergerond. This is the case also on this new work by Bergerond. He decided not to use his voice, nor to "replay" his voice to speak in his own terms. His vocals are not his strongest point, but I do hope he will sing in the future again as his singing has his very own intensity. However most songs on "Forecast Proof" have the beautiful voice of Viveka Eriksson, who also participated on "Le savant devait arriver avant songeur" (2008) and "Audiomachie/Logomachie" (2009). This Swedish artist, also known as Laidbackviv makes a wonderful couple with Bergerond. Her voice is jazzy and 'black' in one song and Kate Bush-like in another. Besides Bergerond is assisted by Frederic Szymanski on electric guitar in a few tracks. Although Bergerond takes samples from existing music, preferably traditional acoustic instruments, he seems not inspired by the music of others. "I find it harder and harder to feel related to the music of other composers, whatever the time era, so I find inspiration in cinema where the sound follows other dramatic rules". Besides cinema, narrative poetry and stories are often what Bergerond inspire in composing his music. This explains the typical dramatic characteristics of his music in its content as well in its structure. What is new on "Forecast Proof" is that Bergerond choses for compositions that are more open and progress in a slower pace. Viveka perfectly knows what direction to chose in the strange jungle of Bergerond,s music. She feels perfectly at home there. She weaves seemingly autononous melodic lines through Bergeronds unusual musical constructions. A promising combination, so I hope they will continue their explorations. Of the six pieces on this album, two of them are instrumental. The ideal opportunity to concentrate once again on what Bergerond exactly is doing. Next time I hope to find a fitting metaphor for his puzzling musical universe. (DM)" Vital Weekly |
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Audiomachie / Logomachie
(Berger rond, #VVSBR05) (2009) SOCAN 1) Audiomachie (6:21)
(39:12) Maintenant disponible sur cette page de freakywaves. Viveka Eriksson composed and performed some of the vocal melodies, made the lyrics better, except on the piece # 2 where Viveka doesn't appear. Jörg Fischer prefered the drums on #1 (like voices from elsewhere, #3 and #4 ; he also added insect voices or my album Philosophie Fantasmagorique (2006-07). Frédéric Szymanski composed a bit and played of almost everything on #1 (acoustic guitars with 12 steel strings, nylon strings and other acoustic instruments of bass frequencies). Dan Stearns plays a ukulele on #2 and adds a texture sounding like a sitar and a submarine on #3. Amy Kohn composed and performed a vocal pattern on #1 ("Universal Ideas are clichés ! We refuse to call this way.") Bob Marsh played an invented acoustic instrument on #1 (introduction and before the end). Philippe Bergeron plays a digital bass on #6 (introduction). Carlo Serafini added some textures on #4 and #6 (like a wind of digital data). Composition by Vincent Bergeron and collaborators / Cover art by Berger Rond - The project was about trying to explore different poetry styles, always with different instrumentations and musical structures because I don't want to repeat a single one
Everything was essentially composed during the first 6 month of 2009 and is protected by SOCAN. "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. [...] 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. [...] (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 "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." |
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Instruit Mental
(Berger rond, #VVSBR06) (2004-2009) SOCAN 1) Audiomachie (6:21)
(58:00) Maintenant disponible sur cette page de freakywaves. All music composed chord by chord
Invited collaborators - Marco Oppedisano played ambiant and elect. guitars (about seven different sound textures)
Everything was composed from 2004 to 2009 by Vincent Bergeron and is protected by SOCAN. |
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Le savant devait arriver avant songeur
(Berger rond, #VVSBR04) (2007-08; 2009) SOCAN 1) RUBBER sur la voie gauche (4:10)
(37:00) Maintenant disponible sur cette page de freakywaves. Karen Preston - Industry apparaît dans la portion inférieure gauche de la pochette. Viveka Eriksson chante sur toutes les chansons sauf la pièce titre. Marco Oppedisano joue de diverses guitares sur #2, #4 (oui) et #8. Marco Rosano joue du saxophone tenor sur #3, de la clarinette, clarinette basse, du saxophone basse et tenor sur #4. Jörg Fischer préfère la batterie sur #4 et #6 (sans son percussif, dans ce dernier cas). Jurica Jelic (guitare fretless, #8), Frédéric Szymanski (piano, #8), Tiny Orchestra (primitive feel, #2), Markus Breuss (trutruca, #4), Thilo Schacht (bruit, #4) et Gregory Jacobsen (bruit, #2) complètent. Composition par Vincent Bergeron et collaborateurs, même chose pour les paroles avec l'aide de Viveka Eriksson. - L'album a été composé en écrivant un scénario de film
Tout a été composé durant la période d'août 2007 à août 2008 et est protégé par SOCAN. Le scénario est maintenant devenu un livre publié aux Éditions Dédicaces Ideas by me in English : 1) Imagination cannot work when the mind closes itself to the goal of being right, without getting excited about anything by fear of sounding wrong to somebody else. Being down to earth is nothing surprising. I personally prefer to amaze myself in these moments of exception when I become down to earth. In these conditions, the imagination is my permanent lover. 2) Whatever the vocal timbre, singing is better when it get lost in language. By multiplying the forms of languages, it becomes possible to travel through the masks. Without this multiplication, we are left with this lazy and acceptable voice, in the music moral - or codified amorality, which means the same thing. "Le savant devait arriver avant songeur is a weird trip: an almost entirely discordant, abrasive, Lynchian hash of twisted instruments (strings, tabla, electric guitar, piano, electronics, saxophone, among others) and Bergeron’s creepy voice, the totality of which he describes as “impossible music”, and one which proves very awkward to the ear and mind. It sounds like there is lots of improvisation. At times a female voice plays off of Bergeron’s vocal in a stage musical style. Stand-out for weirdness has to be the acapella “duet” SexyBookWorm (the only full English-language track present) where Bergeron and accomplice seem to adopt mockney accents and yearn, for something. It’s European, avant garde, and not without its own freakish charm, but I am wholly unqualified to say anything more." "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)
« I really like the jumping quality of your music, very seamless going between moments with a nice use of repetition. Almost pop like sensibility with unusual source material ! I don't usually get more than a few moments into anyones tunes without moving on ! »
"A melodic chaos. Spastic, sporadic, Bergeron's bilingual poetic soundscapes reflect the impermanence and frenetic pace of our society. Categorically musique actuelle."
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Philosophie Fantasmagorique
(Berger rond, #VVSBR03) (2006-07) SOCAN 1) Philosophie Fantasmagorique (2:11)
(41:00) La pochette inclut l'art de Ian Pyper ; Leaf Grid et Low Flying Ducks dans la section inférieure de l'image. Maintenant disponible sur cette page de freakywaves. « À la poursuite d'un mot ou d'une phrase ou d'une pensée dissociée qui pourrait être traduite en une philosophie nouvelle, une technique ou une science nouvelle...ou quelque chose de nouveau dont la race humaine n'avait jamais rêvé. » Dans le torrent des siècles, Clifford D. Simak « ...pour construire un labyrinthe dans lequel tous les hommes se perdraient. » The Garden of Forking Paths, Jorge Luis Borges Philosophie Fantasmagorique was composed with an imaginary movie in mind. It includes a 47 pages movie script about an artist realizing is state of being in a confusing world. All the lyrics were inspired by the movie script story, but don't always directly relate to it. The sentences wrote themselves in an hybrid form of English and French. I got used to this new musicality. This language approach is not a political statement – but it is if you want it that way. This project is only something that I hope suggests new ways to explore and a relief for someone who don't feel understood in this world (that's why I love songs so much).This album was made to be enjoyed on its own just like my two previous ones. Infinite thanks need to be given to my collaborators. A special mention have to go to the guitarist Marco Oppedisano who played an important role in four songs. Composer Anthony Tan gave me the permission to adapt one of his piano études. Guitarist Philippe Canovas, noisemakers Déviergeurs de Tympans, singers Gregory Jacobsen (from Lovely Little Girls), Fabienne Lucet (from The Perfect Couple) and Yoko K. (from Aphrodizia) are other important collaborators. See the second page for a little bit of information about all the collaborators. More than ever before, I used my favorite sounds, dynamics, structures, found my real - it's true - singing voice and mixing method (this by far, my most mixed album). I could say half-seriously that it's the third part of a trilogy about human identity. This idea came to me just before the last song was composed. It makes perfect sense after looking back at the themes explored in the course of the three albums (Casse-tête de l'Existence, L'Art du Désarroi, Philosophie Fantasmagorique). At the end, life is about self-expression ? At least, this is what I believe in right now (I'm 27 years old). Music is not an intellectual competition to me. Listening closely to your favorite music is the best form of learning. Vincent Bergeron, 2007 "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."
"Bergeron supplies his vocals with a very bizarre and unheard 'background' of electro-acoustic sounds and music. Background into brackets, because he opens new dimensions with his curiously assembled music. Brilliantly done. He uses many different soundsamples for this music. Often you recognize concrete instruments, other elements are from electronic origin or recordings treated beyond recognition. I,m totally impressed by the carpet he weaves in with plunderphonic approach. Very original collage work, producing in an highly imaginative music that is totally fascinating. I would qualify his compositions as songs in the end. And for some reason I associate them with the world of opera and musical. The eccentric Bergeron creates energetic and dramatic music and textures, little psycho-dramas. He sings in french most of time, sometimes a mixture of french and english. I couldn't make much of it, but the texts are an important element for Bergeron [...] it is impossible not to be impressed by this often hilarious music, that is compelling and very listenable. Bergeron is a true original talent, of a kind that is seldomly met. Watch this guy! (Dolf Mulder)."
"But foremost, the reason why „Philosophie Fantasmagorique“ has turned out confusingly accessible, lies in Vincent Bergeron's more concretised sense of song. There are memorable motives on all of these seven dream-like orchestrated tracks, parenthesised by two a capella performances. Bergeron hums along to soundscapes composed of psychedelic guitars, atonal violins and marimba sequences. More and more, quotes from classical music and contemporary music are interspersed and made more coherent by electronic echoes, groovy abstractions and technoid translations: There is a flow and fluency to this work, which had been more or less absent from his previous offerings.."
"Vincent Bergeron, jeune compositeur québécois (Victoriaville), publie un nouvel album, 'Philosophie Fantasmagorique', essentiellement basé sur des textes et les voix de plusieurs intervenants. Excellent travail de mixage et textures, très bons textes."
"Are you ready for some Canadian left field electronic music? Vincent Bergeron has a new album called Philosophie Fantasmagorique. This a record which will appeal to you if think that Captain Beefheart was just a tiny bit too accesible. You need time to listen to this kind of record. If you are willing to go into the textures and layers that make up his soundscapes you will discover the new horizons of todays electronic music."
"Hope, because he permanently changes my view on the outlooks of modern, listenable - but not dumb - music right now.
He is fast, but without a neurotic feel to it.
He is strange, but in a very understandable way.
He is versatile, but doesn't bore with celebration of technical excellence.
He fantasizes heavily, but not as a (neo-) hippie (sorry folks, juar juar).
He doesn't imitate, he learns, he's a medium for the FORCE.
He is educated, but not brain addicted.
He's easy going, in other words: cool.
His aims are seriously fusing modern classical, so called new music, pop, electronic, jazz and vocal influences resulting in neither style,
but in kind of supermodern chamber music on steroids, displaying the grandeur of concentration and realxedness.
He is no slave to hip trends, he KNOWS them."
"La première fois que j'ai cliqué sur un morceau de Vincent Bergeron, c'est comme si un abîme s'était ouvert sous mes pieds. Ma première impression a été d'écouter "L'Opéra de Quatre Sous" joué à l'envers et passé dans un concasseur. [...] Finalement, c'est bien au rock que se rattache sans doute le plus la musique de Bergeron, même s'il s'agit de sa frange la plus radicale. Pour qui a déjà écouté Pere Ubu, Beefheart ou les Residents, rien ici d'inaccessible. Au fil des écoutes, on finit même par se laisser prendre, par se perdre avec délectation dans la richesse des multiples couches sonores, par s'amuser du surréalisme des textes chantés d'une voix extra-terrestre par Bergeron dans un curieux sabir américano-français [...]"
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L'Art du Désarroi
(Berger rond, #VVSBR02) (2004-06) SOCAN 1) Vincent...Van Gogh (9:20)
(48:09)
Couverture de Anne Marie Grgich (peinture Orillia, 2003) et Vincent Bergeron (un petit rien). L'autre collage contient Sphara Ameris de Grgich (2003) et moi aux environs de 1986, à la maternelle. The piece is in the permanent collection of The Flying Pig, Gallery & Greenspace www.theflyingpig.biz * Si vous achetez la version du site officiel, vous aurez droit à une chanson inédite, qui ne sera jamais diffusée sur l'Internet, l'une de mes plus calmes et accessibles ; if you buy the official version, you will get a free song, which will never be available on the Internet, one of my most calm and accessible ones. La version vendue (Mixed Audio/Data CD-r) contient une chanson supplémentaire, les paroles et plusieurs images ; lyrics + extra song + cover art in 2000x2000 definition and other thematic pictures. (11 $ can (total) = 7.18 euro = 10.51 us ; 2008.08.26, Convertisseur) Acheter (Buy) L'Art du Désarroi sur Fnacmusic Acheter (Buy) L'Art du Désarroi sur i-Tunes Acheter (Buy) L'Art du Désarroi sur Emusic Acheter (Buy) L'Art du Désarroi sur Virtualabel La liste complète des sites où l'album est disponible.
After the Clearly, this album is like a much more accessible Progressia.net (published 22.06.2007) Solipsism Interview (published 10.10.2006) Intuitive Music Hints & Recommends Tokafi interview (published 23.06.2006) "Imagine yourself watching an LSD-orchestra playing symphonic cover-versions of Jaques Brel-songs through the lense of a broken kaleidoscope inside an almost empty movie theater, while listening to a practise-tape for drunken drummers on the headphones of your ipod. Imagine instruments in romantic entanglements at the border of the night, dancing in neonlight to an old shellac recording, with the needle skipping and flipping constantly. Imagine a bizarre dream of a medieval bazar, with the scent of onions and parsley and the sound of a prepared dulcimer being played by the wind. And imagine all of this packed intracks between four and nine minutes long, which follow no logic but their own and are held together by the acting of a pantomime. [...] It may appear to be a contradiction in terms, but believe me: Vincent Bergeron is a romantic."
"How can I possibly describe the music of Vincent Bergeron? A surreal French cabaret? Pierrott Lunaire on acid? The only thing I'm sure of is that you have never heard anything like it before. Bergeron, as well as I can understand it, takes sound samples from practically everything, cut them up is small pieces, and pastes them together in a sort of sound mosaic. Then he adds his own voice, which itself has a eerie but charming quality, and cuts that up to fit his instrumental creation. All of this is assembled into a well structured lyrical composition. This is some of the most original music I've heard in a long time. In today's terms, this is beyond bizarre. In the future, it will probably be called brilliant [...]" "Vincent wrestles with many competing elements in L'Art du Désarroi, commenting on the chaotic mental processes of a creative mind. Just as the instrumentation is heavily edited and atonal, his voice takes on many different characters. In Dave and Drew Banned Art, for instance, he's almost schizophrenic; the instrumentation jumps from various ethnic backgrounds, his vocals switch from a tone of mockery to listlessness and then sadness. Introversion is the most "accessible" track on the L'Art du Désarroi, beginning with sublime classical guitar playing, to which synthesisers and brass instruments join in. If you download L'Art du Désarroi, prepare to be surprised. Go for a walk in your nearest town or city with it on your mp3 player, think about Van Gogh, Vincent and banned art." Milieu "Eh bien, disons qu'un certain hasard m'a amené sur la piste de cet artiste de 26 ans, natif de Victo. Comme avec maintenant de plus en plus d'artistes, c'est grâce à internet que je me suis mis quelques rasades de Vincent Bergeron dans les oreilles: explorateur chevronné, il nous livre un montage bizarre, mêlant des instruments classiques, des sons en général naturels et son propre chant, d'un timbre et d'une mélodie plutôt hors normes, qui est assez présent dans ses 2 derniers albums: L'Art du Désarroi (2005) et Le Casse-Tête de l'Existence (2004). Ses chaos harmoniques rappellent l'univers expérimental de René Lussier. Comme ses titres de chansons sont souvent ambivalents, sa musique est faite d'un contraste : celui de la douceur et de la provocation [...]"
"This is intense music, sometimes harsh and biting, sometimes hitting on some surreal beauty. There is a constant stream of sounds, violins to drums to high and practically non-harmonic electronic frequencies. It takes a bit to get used to. The track the disk is named after, L’Art du Désarroi reminds me of another collage-based group: The books. There is something beautiful in this, but its hard to put one's finger on it. The instrumentation is beautiful too, frequently bordering on atonality, but beautiful in an expressionistic sense, if that makes sense."
"L'Art du Désarroi et le Casse-tête de l'Existence de Vincent Bergeron. Un remarquable travail de collage sonore, pas nécessairement accessible à toutes les oreilles, mais qui vaut la peine d'être découvert."
"Expect heavily edited and atonal instrumentation and a voice which takes on many different characters." Funprox D'autres commentaires à lire sur le serveur myspace.com.
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Casse-tête de l'Existence
(Berger rond, #VVSBR01) (2003-04) SOCAN 1) La naissance (5:15)
(56:24)
There's also a different edition that is available for free download on the netlabel Webbed Hand Records. La version vendue (Mixed Audio/Data CD-r) contient les paroles et la pochette en 2000x2000 ; lyrics + cover art in 2000x2000 definition. (11 $ can (total) = 7.18 euro = 10.51 us ; 2008.08.26, Convertisseur) Acheter (Buy) Casse-tête de l'Existence sur Fnacmusic Acheter (Buy) Casse-tête de l'Existence sur i-Tunes Acheter (Buy) Casse-tête de l'Existence sur Emusic Acheter (Buy) Casse-tête de l'Existence sur VirtuaLabel La liste complète des sites où l'album est disponible. A concept album with a new form of songwriting. All structures were influenced by rock and also by experimental techno and prepared improvisation (which i still don't really enjoy most of the time). There is choruses, verses, bridges, introductions and endings. They don't appear in the order, all the times, but they are in place. The vocals and the lyrics came after. All lyrics were inspired by the instrumental music. It's marvellous to treat human voice like an instrument instead of the driving force behind the music. I'm making the music that I have in my head since many years. I hope the excitement, discovery of infinite possibilities is shared. "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."
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"I highly recommend this album. It starts out very abstract and choppy, then congeals into a very remarkable example of experimental music. Very quickly you realize that this artist is doing something that demonstrates a lot of skill and knowledge of Beat style cut-up and Surrealist defamiliarization, and the orchestration is moved into a very different realm of perception." cpmcdill [Webbed Hand] "Passé-présent-futur is one of tracks that’s grown on me most, with many different influences in terms of timbre. It draws attention to the strange mix of styles and eras Bergeron has explored in Casse-tête de l’Existence. And it’s due to this that, as a whole, the pieces have a complexity and timeless quality that makes revisiting the material both intriguing and enjoyable." Milieu |
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U.S.A. (United for the Sake of Abasement)
(2003) 1) Don't Miss The Show! (0:46)
(20:38) Non disponible à la vente, pour vous en plaindre : vincentbergerond@gmail.com This EP is a sort of anti-Bush statement. I wanted to make music sounding like previously invented names. I wrote all the titles for this EP before making the music. The important thing : the music really puts together many of my ideas ; the more melodic side and the more experimental side. In retrospective, it remains a little too much like contemporary classical perhaps. I'm also much better at editing and mixing now. |
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Collage Series
(2001) 1) All You Need Is In The 60's (18:23)
(34:36) Non disponible à la vente, pour vous en plaindre : vincent2milles@yahoo.ca I wanted to make a tribute to the 60's and the 70's. Yet, i didn't want it to be a collage of clichés from these times, but a collage of unknown, quiet brilliant or quiet ridiculous (really funny) moments. I used rare recordings from these times. The first collage contains 159 samples from 62 sources (nothing is modified) and the second contains 99 samples from 48 sources (nothing is modified again).
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Celebral Divisions
(2000-2002) 1) Celebral Divisions (9:43)
(59:53) Non disponible à la vente, pour vous en plaindre : vincent2milles@yahoo.ca *Raw42.com published my track Dreamworld for their Definitive Compilations Set (i'm on the 4th cd called 'Twisted').
"Dreamworld seamlessly fuses together a vast array of strange sounds and elements into a multi-dimensional recording that truly eludes to an evocative greatness."
"Bergeron's music is so absorbed in itself that it sometimes achieves a level of emotional purity rarely encountered in "electronic" music."
I wanted to make a concept album about cerebral divisions. The 'celebral' thing stands for "celebration of cerebral divisions". The album slowly progress from multi-segmented pieces to more simple tracks. I added 2000 interludes and other works in 2002. |
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Dark Tension (compilation, first works - 1999-2001)
(1999-01) 1) Jade Slack (2001)
Non disponible à la vente, pour vous en plaindre : vincent2milles@yahoo.ca
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