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Dionne - Brégent

Progressive Electronic

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Dionne - Brégent Et Le Troisième Jour  album cover
3.46 | 20 ratings | 5 reviews | 15% 5 stars

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Studio Album, released in 1976

Songs / Tracks Listing

..Et Le Troisième Jour
1. Incarnation (4:55)
2. Chant D'Espoir (4:54)
3. Chant D'Espoir (5:58)
4. Résurrection (6:09)

L' Exil Du Jour
5. Possession/Destination (10:51)
6. Choc D'Or (0:08)
7. Temple Du Silence (1:25)
8. . Des Cycles Et Des Passions (6:14)
9. Transcendance Du Lieu/Délivrance (3:57)

Total Time: 44:31

Line-up / Musicians

- Vincent Dionne / percussionist
- Michel Georges Brégent / keyboardist
- Pauline Vaillancourt / soprano (3)

Releases information

Capitol ST 70044

Thanks to Sean Trane for the addition
and to ProgLucky for the last updates
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DIONNE - BRÉGENT Et Le Troisième Jour ratings distribution

(20 ratings)
Essential: a masterpiece of progressive rock music(15%)
Excellent addition to any prog rock music collection(50%)
Good, but non-essential (30%)
Collectors/fans only (5%)
Poor. Only for completionists (0%)

DIONNE - BRÉGENT Et Le Troisième Jour reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Sean Trane
4 stars D-B's first album is one of the most amazing album coming out of Quebec (if you are familiar with La Belle Province's 70's progressive scene, that is) and the least you can say is that they were unique in not only Canada, but in the whole of the New World. The collab of Vincent Dionne (an amazingly descriptive - musically speaking - percussionist that even created his own instrument, the Madriphone) and Michel Georges Brégent (a keyboardist having recorded with his brother an album or two with his brother before and a few solo after this duo) is miraculous in the superb results this album gives.

The first side of this thematic album (great artwork, BTW) is very close to a cross of TD's best symphonic works (from Ricochet to Force Majeure) and TD's earlier Pink-era albums (Zeit) to Kraftwerk Man-Machine-styled minimalism, yet in many cases, D-B is very much superior to those. Do this sound incredibly good? You betcha!!! It even trounces some of the genre's best works, slapping most of Krautrock silly for not coming up with such evident, implacable and astounding (yet so simple) music. The first side of the vinyl is made of the self-titled suite and approaches perfection that even the best could NEVER match. From the two parts Chant D'Espoir (with the tears of joys guaranteed with Pauline Vaillancourt (a superb soprano in its second pazrt) abd the very evolving Resurrection (start from percussive to end up symphonic), this album is simply awesome and flawless. Burt let's face it, there is part of reconstruction because the master tapes were simply not well kept and parts had to be taken from the vinyls.

How can a second side succeed to such a perfect predecessor? By being completely different, of course, and D-B makes sure they did that right. The mood is more dedicated to free (almost improvised) percussions with gloomy nightmarish electronic ambiances like Eno, Schulze and Froese, or even Ralf And Florian (Kraftwerk) or the other Florian (Fricke of the early Popol Vuh albums). This album is certainly schizophrenic, and if on the first side Vincent was at the service of Michel Georges, on this other side, M-G is at the service of Vincent. And while again, not really groundbreaking, they manage to take the musical genre to perfection. The music is often gothic and cosmic-psychedelic (the way Floyd was in the UmmaGumma studio album), and is as strong as Zeit or Affenstunde.

While the proghead might appreciate better the first side, they will certainly concede that the second is not far behind, even if in a completely different ballgame. Is this album among the best Krautrock? In your best ten, most likely, once you've discovered it.

Review by apps79
SPECIAL COLLABORATOR Honorary Collaborator
2 stars In 1975 keyboardist Michel-Georges Bregent, known for his work on Brégent with his brother Jacques, teamed up with the experienced percussionist Vincent Dionne, a hard worker, who had been colaborating with several ensembles and artists since 1968, forming the Dionne/Bregent duo.With a contract under the support of Capitol they recorded their debut ''...Et le troisieme jour'' in 1976.The whole album is based on Bregent's keyboards and Dionne's percussion with the only help coming in the choir parts from a list of guest singers, among them operatic soprano Pauline Vaillancourt and Judi Richards, who was a singer for the Disco band Toulouse around the time.

Dionne/Bregent's debut release unleashes two different faces, each connected with the two sides of the LP.The opening one is haunting and slightly experimental keyboard-based Electronic Music with strong TANGERINE DREAM hints.Performed on analog synthesizers, organ, percussion and vibraphone this is trully floating and cosmic music, becoming more tasteful with the presence of someking of Gregorian-type chants and the operatic voice of Vaillancourt.The best piece is propably the very atmospheric ''Resurrection'', evolving from a Mellotron-drenched prelude to a CYBORTON-type of spacey Electronic Music with repetitive percussions supporting.The flipside is as if it has been recorded by another act.The long 11-min. ''Possession / Destination'' tends to Avant-Garde experimentalism, being a boring piece of abstract industrial noises akin to FRANCO BATTIATO's minimalistic works, where the duo reputedly experimented with the sound of glass jugs and metal sheets.From this point on the album looses totally its direction and never fully recovers.The remaining cuts are full of sound effects, loops and experimental sounds with no evident cohesion and almost total absence of natural instruments, apart from some sporadic organ and synths performed by Bregent.

An album that starts as a decent effort of Electronic Music with both dark and ethereal movements, ends up to be a hard experimental listening even for the mystified fans of the genre.Recommended only to fans of dissonant and industrial Experimental/Electronic Music.

Review by Progfan97402
4 stars Of the two albums Vincent Dionne and Michel Georges Brégent made together, it's clear that their debut together, ...Et le Troisième Jour (I guess that translates as "On the Third Day", but you can be sure they probably didn't get that title from ELO, but from the Bible) is a more difficult listen. I can't believe the kind of albums that Capitol once had on their roster, but I'm willing to believe the unbelievable mega success the label had with the Beatles in North America afforded them to take a few risks and take a chance on some artists that might have artistic merit but even they knew would never receive much commercial success (until the late '70s, that is). I don't know how well-known this duo is known in Quebec, but I can guarantee you that Capitol really took a big gamble. This is basically a fascinating combination of electronic, gamelan, opera and avant garde. I could imagine Joel Vandroogenbroeck of Brainticket liking this album, in fact it features a lot of the same kinds of percussion as early '80s Brainticket (Adventure, Voyage) even if there's a totally different approach here. The first side of the LP emphasizes the electronic side , "Chant D'espoir", for example has this theme played on synth from Brégent, with gamelan-like percussion from Dionne, and a male/female choir and the second half features operatic voice from opera singer Pauline Vallaincourt. The avant garde stared rearing its face with "Résurrection". Side two of the album emphasizes the avant garde side of things. A good portion of this side really has a scary and ominous feel, and for those put off by that, it's little wonder some prefer the more prog rock leaning second album called Deux. In Quebec, these two LPs don't seem to be particularly expensive, and if you collect vinyl, you should be able to get a copy for a reasonable price. It's quite a far cry from the more folk-dominated groups like Harmonium, Le Temps, Beau Dommage, Lougarou (Garalou), and I noticed Quebec didn't have a whole lot of electronic acts (but nether did the rest of Canada). Dionne/Brégent might not be for electronic purists, that's for sure. I really can't say which of the two I like better despite their very different approach, if you can't take Et le Troisième Jour you might like Deux. If you thought Deux seems a "bit generic" then go for this one instead.
Review by admireArt
3 stars Canada may not have been recognized as an important figure in the 70's Progressive Electronic rock scene in its beginnings. Easy to understand considering its then lack of instant communication from this styling's craddle and the lesser quantity (not quality) of P/E's musicians up there. Nevertheless I have found an unique musical translation and freedom that sets it apart from those monster European acts' musical idiom (The famous "Berlin" and "Cosmic" schools).

Dionne - Brégent's 1976 "Et le Troiseme Jour" is no exception to that. Divided in two parts, side "A" & "B", this release shows 2 different approaches in electronic music composition. So more than a single composer's effort we are offered two separate ones, which I myself find quiet amusing instead of feeling insulted.

Side "A" is close in spirit to P/E's craddle but adding a twist by using gamelan drums and other fast paced acoustic percussive instruments counterpointing the synths' atmospherics and mainly by avoiding the pulse sequences that everybody used to and still abuse.

Side "B" on the other side (literally) is close in spirit to electronic experimentation or Avant Garde and Rock in Opposition stylings, so as to "classic electronic" music composers. Blending free musical cacophonic structures with all kind of weird electronic sounds and traditional percussions this piece is quiet "unfriendly" in comparison to its side "A" sister but still unpretentious and quiet well achieved.

As far as the rating goes, side "A" merits 4 PA stars, side "B" is good but that solely (3 PA stars), therefore using some kind of "unbiased" arithmetics>

***3.5 PA stars.

Review by Mellotron Storm
4 stars I have to agree with Hugues that this is one of the best albums to come out of Quebec. Released in 1976 it's hard to believe that this was on Capital Records. This is Electronic soundscape music for the most part but man I'm blown away at the compositions and ideas here. I actually listened to "Deux" first which is their second album but just wasn't that into it and seeing just about everyone rates it higher than this the debut I didn't even give this a spin until just recently and was promptly putting it into my rotation. This is my music. A duo of drums and electronics but these two play almost everything conceivable when it comes to percussions and keyboards. A guest 6 member choir is on a couple of tracks along with a female soprano singer who is amazing.

Each side is a suite broken down into tracks with side one being composed in June of 1975 while side two was created in February of '75. Two very different pieces with the second side going into darker territories including the longest song on here "Possession/Destination" at almost 11 minutes being a great example of this. So much atmosphere on this record and side two gets haunting at times. Love the choir and female vocals on "Chant d'Espoir" which is divided into two parts on the cd but is one track on vinyl.

When I do my Electronic list this will be right up there with the greats. A must-have for fans of adventerous music out there.

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