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)
"[...] 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."
BERGEROND - AUDIOMACHIE/LOGOMACHIE (CDR by Freaky Waves)
BERGEROND - INSTRUIT MENTAL (CDR by Freaky Waves)
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)
"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.
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”
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]