Dans une galaxie près de chez vous…

AVEC PAS D’CASQUE
Astronomie
Grosse Boîte

Au lieu de simplement rafistoler le folk joliment déglingué de ses deux premiers albums, dont l’excellent Dans la nature jusqu’au cou en 2009, le groupe montréalais Avec pas d’casque a choisi d’ajouter des sonorités plus atmosphériques, voire cosmiques. Défoncer le toit de la shed plutôt que bêtement la repeindre. Du coup, on en voit mieux les étoiles.

Ces étoiles, on les doit à l’arrivée du trompettiste baryton Mathieu Charbonneau (Torngat, The Luyas) et de Mark Lawson (Arcade Fire, etc.) à la console. Ils ont su planter un décor nocturne qui convient parfaitement aux textes du cinéaste Stéphane Lafleur (Continental, un film sans fusil, En terrain connus, le montage de Monsieur Lazhar), toujours aussi étonnant avec sa poésie de bout de ficelle, ces images gossées à même un quotidien à la fois tendre et désarmant :

Ton corps trempé dans la paillette
Ma tête de boule miroir
T’es un gala à toi toute seule
Je garde le vestiaire
(Les oiseaux faussent aussi)

Nous ferons des concours de lumière
De blessures en ordre croissant
Tu voudras que je préfère
J’haïrai évidemment
Mais je veillerai le feu avec toi

Veiller le feu

Qu’il s’agisse d’Apprivoiser les avions, de Veiller le feu ou de La journée qui s’en vient est flambant neuve, les mots et les images nous traversent le corps pour nous laisser émerveillés, mais aussi curieusement apaisés, preuve que le groupe a su dépasser la simple enfilade de métaphores chocs au profit d’un univers somptueux, cohérent. Alors qu’on écoutait les précédents albums d’Avec pas d’casque à la recherche de la jolie phrase à épingler sur son frigo, Astronomie nous invite plutôt à nous étendre au sol, les yeux plantés au ciel. Jamais l’idée d’accorder des «étoiles» à un disque n’aura été plus appropriée.

Gabrielle Goulet, la Marie Mai franco-ontarienne

C’est juste pas bon.

Ce premier EP de la franco-ontarienne Gabrielle Goulet est produit par Michel Bénac du groupe Swing et ça paraît. C’est de la grosse pop quétaine surproduite et mal écrite. Mon iTunes a planté cinq fois en essayant de faire jouer l’disque. Je le blâme pas.

J’ai pu écouter la pièce Arc-en-ciel avant qu’iTunes dégosse une première fois. Arrivé à mi-chemin dans la seconde pièce, Ta voix, iTunes a fait une autre crise. C’est pas grave. Break.

Je réécoute Ta voix d’un boutte à l’autre. J’vais y donner une chance quand même!

Ta voix me chatouille en dedans
Je suis sous ton charme, et je dois te laisser savoir, je dois te laisser savoir…
Je tombe pour toi et ta voix dans le noir me chante tout le temps
Je tombe si fort et je dois te laisser savoir, je dois te laisser savoir…

Muah ha ha ha hein ha ha hein ha ha…

Me laisser savoir quoi? Fini tes phrases!

C’est de la pop. De la pop, c’est de la pop. On sait toute que c’est de la pop. Même elle sait que c’est de la pop. Elle est la Justin Bieber, la Selena Gomez, la Hannah Montana franco-ontarienne.

Aveux: j’aime beaucoup la musique pop. De la bonne musique pop. Mais ça,  c’est pas de la bonne pop. C’est une mauvaise imitation d’un genre amaricain qui est mécanique, agaçant et tout simplement plate. Ça sent l’Swing à n’en plus cracher. Chaque chanson est une photocopie médiocre de la précédente, comme si la machine manquait d’encre.

Arrivé à la piste 3, Dans tes bras, je commence quasiment à me sentir mal pour elle. Je me pose de sérieuses questions: comment est-ce que quelqu’un peut produire quelque chose comme ça sans que personne ne lui dise que c’est pas bon?  La réponse à cette question révèle un encore plus grand problème en Ontario français. Le manque de vrai critique. Il faut qu’on arrête d’appuyer la médiocrité si on veut produire des artistes qui ont de l’allure. Mais ça, c’est un autre billet.

Je comprends qu’il faut bien « supporter la relève » mais là, à quel prix?  Qu’est-ce qu’on est en train d’envoyer comme message?

Gabrielle Goulet a du chemin à faire et est loin d’avoir fait ses preuves. Fais-toi une faveur : laisse faire les feux d’artifice, débarrasse-toi de Bénac et trouve ta voix.

Arrivé à la fin de Petite fille, la dernière pièce de l’album, mon iTunes plante pour la dernière fois.

J’éjecte le disque. J’en ai entendu assez.

Pour ceux qui aiment

Star Académie, Justin Bieber, des gilets polos franco-ontariens.

Interstices : Joseph Edgar

Joseph Edgar, le Bob Dylan de Moncton, lance son quatrième album en carrière, Interstices. Cet album tant attendu, produit par Joe Gagné des Breastfeeders, a un son nettement plus rock que dans

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le passé. Le pari est réussi. Sans renier son «son» traditionnel, l’ancien leader du groupe Zéro degré celsius nous entraîne sans difficulté dans ce nouvel univers électrifié. Les sonorités folk, sa marque de commerce, s »y retrouvent toujours, et le musicien surprend en chantant en anglais pour la première fois, relèvant le défi avec brio. D’ailleurs, ça ne serait pas étonnant qu »il décide de continue à explorer cette voie.

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Musicalement, Interstices est irréprochable. Chaque note et chaque accord semblent être à leur place. Cela peut s’expliquer du fait qu’il a été appuyé par la jeune acadienne Lisa LeBlanc (banjo, voix) et la Franco-Manitobaine Geneviève Toupin (piano, voix). Par contre, il serait irréaliste de dire qu’Interstices sera apprécié de tous. Joseph Edgar a une voix unique qui ne plait pas casino pa natet toujours à l’oreille. Bien évidemment, ça dépend des goûts. Toutefois, ce léger bémol ne devrait pas suffire à décourager quiconque d »écouter cet album. À écouter fort.

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assister au lancement du nouvel album O Patro Vys dés 20h.

Pour les fans de

Fred Fortin, 1755, Tom Petty et Bob Dylan.

Moments forts

Pont Mackay, Feathers and Tar, Sans jamais parler du vent

Piano Mal : Julien Sagot

Suivant de fausses rumeurs que le célèbre groupe Karkwa (le premier groupe de langue française à remporter un prix Polaris) s’était dissous, un de ses percussionnistes et membres fondateurs, Julien Sagot a fait paraître son premier album solo intitulé Piano Mal le 1er février 2012 chez Simone Records. Je dois avouer que je ne savais pas trop à quoi m’attendre, n’étant familier qu’avec son travail au sein du groupe Karkwa.

Rapidement, Sagot nous transporte vers des paysages musicaux trop peu fréquentés. Des gros accords ouverts, disjoints et lents au piano s’opposent par moment à des petits coups de guitare rapides et secs. La sonorité de l’album crie Montréal, Paris, mais aussi un désert du Far West américain. Les mêmes genres de textes poétiques et réfléchis qu’on retrouve chez Karkwa sont aussi présents dans Piano Mal. C’est la précision des mots qui règne dans ce style d’écriture moelleux et précis.

Si certaines chansons sont lentes et éclatées, d’autres sont très rythmées et linéaires. Or, même l’oreille développée a du mal à déterminer comment l’artiste vient à bout de créer ces véritables voyages sonores, elle n’a pas l’impression de s’y perdre. Chaque son, chaque note, chaque effet sont recherchés, et aucun d’entre eux n’est utilisé de façon abusive. À tout ça, on ajoute la (superbe) voix rauque de Sagot et on obtient un produit incroyablement riche et velouté.

Bref, pour le mélomane, cet album aux textures parfois rudes, parfois lisses; aux sonorités parfois chaudes, parfois froides, est un incontournable du milieu musical actuel.

Pour les fans de

Karkwa, Serge Gainsbourg, Roger Whittaker, Ennio Morricone, Arthur H et Leif Vollebeck.

Moments forts

Piano Mal, Une vieille taupe, Le trucifier