Name: Jean-Marie ONNI aka RUELGO
On the front line: since 1982
Activities: inter alia: one of the founders and the leader of the legendary bruitist band LE SYNDICAT (since 2009 known as LE SYNDICAT MMX)
My ‘date’ receives anonymous 6 compositions picked by me at random. He/She is supposed to discuss their artistic merits, including strengths and weaknesses of applied means of bruitist expression, structure and composing techniques.
1. Asmus TIETCHENS Opening (First Nachtstück)
from “Motives For Recycling” (Soleilmoon 1999) 2 x CD
There is a big loop, very repetitive & indistinct sounds because they are all sent through heavy reverb. The big omnipresent loop made all the track. Other sounds are all messed up in the reverb. What else… The guys seem to love themselves enough to make a fade in and a fade out of 3 minutes. The sound at the right level for 3 minutes with the same loop. It’s only 3 minutes of nothing more than the same loop at its audible level. The loop seems extracted from some classical music with choirs + the extra long reverb is meant to give the impression of majesty which is not at all here due to the 6 minutes fade in and fade out. I’m really asking for something more from music, dudes…
2. Francisco LÓPEZ Galatheanthemum Profundale
from „Azoic Zone” (Geometrik / Asselus 1993) CD
Here whe can hear instruments and percussions played at the begining with a drone which seems produced by some mechanical manually powered device and indistinct rich textures, voices, loops and perhaps wind instruments. After a break some objects move and strike which seems captured on acoustic reverb, another drone appears processed with an FX reverb.The mechanical manually power device comes on high level at the end and the track stops brutally. There is a real effort of melting nice evolving textures but I regret that the played objects and the drones seem separate in space due to the use of acoustic reverb and FX reverb. A nice track which would benefit from clever production. Anyway, perhaps it is too much oriented in the dark easy style for my taste…
3. HIRSCHE NICHT AUFS SOFA Ohne Zu Zögern Gewann Die Gans Die Zigarette
from “Melchior” (Dom 1986 / 2002) CD
A more Poppy musical style here. A lot of the Eighties Dark Cold Wave gothic influenced band if it is not a real thing from the eighties… Well, to me, it hasn’t got so much interest although these are real compositions and real worked tracks with the bass, synths, drums, and voice. The tracks are well worked but the production is disastrous. Very ugly stereo effects and incoherent volume differences between intros and corpus of the tracks don’t help the music at all… Well… garage sound made with very little material as in the eighties. But, even cheap production of today could help this music. Again, if it’s from the eighties, we have a well working band that would have merited a mixing desk, but sorry if it’s from now, this kind of stuff has been done a lot of times before…
4. BIG CITY ORCHESTRA Styrophone Pass
from “Long Term Stimulation” (SSS Productions 1988) cassette
Aaah! This is at the opposite to the previous track! Here there is no production at all but the track is wonderful. It could be recorded with a dictaphone or with an old cassette recorder but it would still rock! Sure a powerful archive of some forgotten genius at the moment when he pushed the Rec button. A nasty static hypnotic noise all along, a voice of a single man talking, some excellent speedy percussions on improbable junk material. Just poetry and strength, very simple, physical.
5. ENHÄNTA BÖDLAR Sista Smörjelsen
from “Sista Smörjelsen” (Selbstmord Organización 1983) cassette
Same kind of no production here, sure made alone in the bedroom. Fat synth played almost repetitively, then improbable percussions when he quits the synth, a few words. Another strange one man archive. Less nasty positive energetic than the previous track. This one is more like a song. Anyway, I like the very fat noisy brute sound and I salute the effort made to self expression alone outside any convention + just with the simple and few sound material the artist had.
6. AFFLUX Paris, Gare De Lyon, 04/02/99
from “Bouquetot, Autoroute A13 / Paris, Gare De Lyon / Port-Jerome, Raffinerie” (Grand Fault 2002) CD
Excellent production here. Use of self recorded sounds which are not just boring flat field recordings but recordings of a lot of industrial equipment, factories, resonant structures and sound objects. Recorded machine frequencies and static radio sounds seems always played and clever placed as instruments + very nicely mixed in space. The piece don’t leave you bored for a second. The spaces evolves continuously and the human presence on concrete objects gives the feeling that the listener is travelling in these different places along with the musician(s). It could be an acosusmatic, concrete music style piece, but it’s anyway at a high level of composition & production. Very fine & clever music to me.