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Michel Madore -  La Chambre Nuptiale  CD (album) cover


Michel Madore


Psychedelic/Space Rock

3.83 | 7 ratings

From, the ultimate progressive rock music website

Sean Trane
Special Collaborator
Prog Folk
4 stars An Obscure Gem

As crazy and wild was Madore's debut Komuso album, as much as this one is completely different, to even think that both albums were made by the same man at all. But here Madore is alone (no group) and plays out everything himself. And given this fact, you shall not be surprised that the album is more personal and looks in the Oldfield direction, but with a Jarre-Vangelis twist as well and even a touch of early Krautrock (Zeit-era Tangerine Dream). Just two tracks (two merged into one on the first side) on this disc, each taking up one side; both sides are also dramatically different even if on the whole they are a bit complementary. In this regard, this album is not far from Dionne-Brégent's two albums, as if the first side of this disc was reminiscent of their debut album and the second side of Chambre Nuptiale was dedicated to D-B's second album.

The first side of the album is definitely more electronic spacey-ambient that most Krautrock fans should love. Clearly this side has my favours and it is building up such an excellent feeling that your expectations are enormous for the second side. Alas, the first few minutes are disastrous (as the dodgy artwork and title had warned you of) and we are plunged in a third-rate Mendelssohn Wedding March reworking, which is not only tacky, but corny as well. Thankfully Madore does not expand this idea too long and the music comes back to a more normal Madore-level even if it never reaches the first side's intensity.

If it was not for the second's disastrous intro, this album would be as good as Madore's debut album and as good as Dionne-Brégent's overall works. Hopefully ProgQuebec will one day have the time and money to re-issue Madore's two albums which are yet another fascinating chapter in Quebec's late 70's prog rock that is in danger of being forgotten.

Sean Trane | 4/5 |


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