-

________

__

Fabriquedecouleurs / Imite Moi [ DODO1] CD, 9 tracks, release date 10.2003 TRACK TITLES 1. Chubbakateuse mp3 sample 2. Immolate Not Amulette 3. Pavlonski, Preserver Of Form And Balance mp3 sample 4. Benjor 5. Japanese Reissue 6. Hajime mp3 sample 7. Comment Lelombric Fut Terrassé 8. To Cut A Long Goodbye Short mp3 sample 9. Crapaudin Fabriquedecouleurs explores audibility extremes with a preference for joyfully confrontational frequencies and gritty shards of digital data. Since 2000, Fabriquedecouleurs has given live performances in France, Switzerland, Italy, USA, Mexico and Japan -Batofar, Instants Chavirés, Centre Pompidou, Confluences, Beaux-Arts (Paris), Tonic, Diapason Gallery (New York), University Of Fine Arts And Music (Nagoya)... - appearing at GRM-Radio France Présences électronique, RADAR Mexico and Pescara PEAM festivals. Fabriquedecouleurs' music has been published by Dorodine, N-Rec, Active Suspension, Grain of Sound, Événement!, Odorico, List and featured at the ECOUTE Musée National d'Art Moderne exhibition. PRESS REVIEWS "...Everything about Imite Moi screams provocation and innovation, approaching working with these extreme and difficult sounds with the vigour and punk rock aesthetic akin to early Mego. It’s abrasive to be sure however the textures, body and structures of sounds are so fascinating that they effectively blot out all of the harshness. There’s no doubt this is minority music – it’s probably the minority of minority music, though the demented genius of its creator is readily apparent. This isn’t clicks and cuts, working with sine waves or any known genre of music, these are sounds skirting the edges of genre. Part noise, part minimal, fully experimental and fully envelope pushing. At times it’s so difficult it’s almost instantaneously migraine inducing, whilst during other moments silence is used as a sledgehammer. It’s difficult, strange, provocative, hurtful and genius. Not recommended in one setting." Bob Baker Fish, CYCLIC DEFROST, Australia "...Remember when Christian Fennesz said that it was easy to create a load of noise on a computer, and that to use the medium for quieter, pop-related projects was altogether more a challenge? Imite Moi achieves the doubly difficult task of making an abstracted noise record thats is actually as richly emotive as Fennesz's own Endless Summer. [...] Here we have a dazzlingly rich terrain of sinewaves, clusters of noise, and digital overloads that manage to add up to a devilishly evocative whole so much more than the sum of those parts. As early as the opener, "Chubbakateuse", with its cliff face of quivering feedback, something altogether more tangible is hiding in the shadows, a sense of a real lust for life, an energetic and unquantifiable excitement. In the quieter moments, the notes seem to linger in the air, as though they had been produced on a piano, in what could almost be taken as an extremely strange, impenetrable allusion to Satie. [...] Everything is poised perfectly; the record is both explosive and taut, building high tension that is released in spurts of noisy catharsis. When was the last time something from the more abstract end of electronic music did that? Easily one of the very best records of 2003, Imite Moi is an absolute landmark for a risible noise aesthetic that seems very much to be in the twilight of its existence. That this is Allard's very first full length (the only previous Fabriquedecouleurs tracks had cropped up on compilations) bodes incredibly well for his future." John Gibson, GROOVES, USA "...If the aim of this "work" is to prompt us to run naked through the streets of every city in the civilized world flinging Molotov cocktails through the windows of each and every art gallery in our path, then mission fucking accomplished. No doubt it'll provide Fabriquedecouleurs with just the right kind of attention, but I'm off to smash this disc into a million pieces." Allan Harrison, SPLENDIDEZINE, USA "...In a fantastic low-rise breather in the likeness and ilk of Ultra Milkmaids and Stilluppsteypa, Monsieur Allard has reshaped charged tonality and tamed aggressive feedback. [...] Imite Moi is like being in a moving van while driving through an Imax film of an avalanche. "Hajime" contains the chaos of Godspeed You Black Emperor or Massimo while pausing for silent bits that display a formidable grandeur. Corrupted, formless and stretched to the limit Fabriquedecouleurs experiments with the illogical strains of impossible micro-noise. An icy, fire-pitched shriek lashes out from "To Cut A Long Goodbye Short" that quickly drowns in an effortless transition that sounds like the cracks in the door of a fighter jet, locked in on the edge. Not necessarily what would account for the comforts of home. But there are voices in these feedback mutations, something hidden, partially encrypted messages. [...] Rattle me timbers and shiver me nerves." TJ Norris, IGLOOMAG, USA "...It has the raw, provocative, in-your-face attitude of early Mego releases, but it never touches the glitch esthetic. In fact, all the contrary: where Mego’s artists tend to fragment sound into tiny shards, Fabriquedecouleurs sticks mostly to sustained drones. Some listeners will think of Merzbow’s digital phase, but the music on Imite Moi never actually become that harsh or relentless (although “To Cut a Long Goodbye Short” does come close). Allard focuses on the electrical nature of sound: hums, buzzes and feedbacks (whether real or recreated) are sculpted into lifelike monsters of sound. He uses the stereo spectrum to its full extent, projecting his gritty textures around the room, trapping the listener inside his realm. [...] One senses a yearning in these abstract pieces, memories of more melodious times, childhood flashes (something like a music box in “Crapaudin”) and moments of remembered tenderness. All these humanize Imite Moi, balancing out the surgical precision of the high-pitched tones in “Pavlonski, Preserver of Form and Balance” and devastating waves of computer noises that constitute the spine of this release." François Couture, ALL MUSIC GUIDE "Overall an improvement from the last one." Frans de Waard, VITAL, The Nederlands "...Imite-moi ne s'écoute pas autrement qu'en ouvrant grand les oreilles et en cessant net toute autre activité, sous peine de ne pas comprendre / sentir la moitié des paquets d'informations et de sons qu'expulsent les enceintes. Dans l'oeil du cyclone Imite-moi, une particularité de taille : de même que l'on crédite les Minamo d'avoir réintroduit la mélodie dans la musique improvisée, on pourrait bien gratifier Fabriquedecouleurs le fait d'avoir su intégrer dans sa déferlante noise le sens de la mélodie. [...] Sous ses airs de grand bordel, Imite-moi engendre en fait deux sentiments : une impression de rigueur et de grande maîtrise du matériau sonore, et celle de s'être pris une énorme claque musicale." Maxime Guitton, CHRONIC'ART, France "...Dès l'ouverture de Chubbakateuse, l'énergie contenue dans cet album frappe l'auditeur(-trice) de plein fouet : les textures digitales pleines de clicks, de feedbacks et autres craquements créent une oeuvre dense, où des courbes de fréquences instables s'agitent en tout sens et s'approprient l'espace stéréophonique. Des passages plus calmes permettent de reprendre pied dans cette cage de Faraday sonore, avant que le tout n'explose à nouveau en feu d'artifice de bruits blancs. La mélodie n'est néanmoins pas absente de cet opus comme le prouve le superbe To Cut A Long Goodbye Short où des vagues aux fines harmonies viennent submerger les enceintes. En contraste avec les morceaux précédents, Crapaudin referme l'album en douceur, dans un ruissellement de notes évoquant une boîte à musique. Une belle pièce de bruit maîtrisée qui ravira sans aucun doute vos voisins." Yann Hascoët, MATIERE BRUTE, France "...Au sein de ce bourdonnement, le plein et le vide, une infinité de micro-alvéoles se percutent et explosent, s'agglomérant à toute vitesse en une sorte de béton cellulaire sonore, une substance à la fois compacte et légère. [...] Seul avec cet album, placé face aux états du son, par complémentarité, par contraste, par solitude, l'auditeur devient conscient de la qualité de son écoute. Tour à tour, il s'abandonne ou se prend en charge. Et l'on remercie la nature de nous avoir dotés d'oreilles." Marie Daubert, MAGIC, France "La petite usine à Gamme Chromatique continue sa production étagée de colorants, osant avec toujours davantage de panache mélanges, miscellanées et autres mixions de bruits translucides et de perturbations hertziennes. [...] Un obscur objet de désir calé entre Bruce Gilbert, Pan Sonic et Wendy Carlos..." Julien Jaffre, JADE, France "...Cet album s’aventure dans des contrées où l’électronique est encore sauvage et loin de se laisser apprivoiser. [...] Ne vous fiez pas à cette pochette pastelle avec ses papillons car vous pourriez bien vous brûler les ailes. Comme l’insecte irrémédiablement attiré par cette lumière, la découverte et le plaisir de cet album passent aussi par la souffrance et l’effort… Pourtant vous y retournerez!" Wqw, INDIEPOPROCK.NET, France "Eigenwillige Musik die aus meist recht hochfrequenten digital angezerrten Klängen besteht, die von Tracks zu Track zwar nicht random, aber doch sehr locker arrangiert werde und bei denen man die Effekte irgendwie rausknabbern hört bis hin zum letzten Krümel." Bleed, DE:BUG, Germany ARTIST'S LINK http://fabriquedecouleurs.dysk.net © 2003 Dorodine