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DIONNE - BRÉGENT

Progressive Electronic • Canada


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Dionne - Brégent biography
Brégent - Bio

Brothers Michel-Georges (keyboards) and Jacque Brégent (vocals) started their own rock group with two saxes, where they illustrated musically the texts of XXth century French-speaking poets (like Baudelaire, Verlaine and Villon) but also some of the more revered "Chansonniers" Léveillé and Leclerc and semi-anarchist Léo Ferré. Jacques sang those texts with great liberty of adaptation, being very dynamic ranging from whispering to yelling with a great voice. Their sonic illustrations were fairly dramatic, jazzy, gothic, sometimes fraying into free-jazz improvs, unique, inventive (at the time, but still sounds quite uncommon today) and dare I say it: progressive. They released their first album in 72 called enigmatically Poussières Des Regrets (dust of regrets) where Ferré's Dieu Est Nègre (god is nigger) is the centrepiece is at times stupendous. The whole album is filled with impressive compositions that sounded quite innovative for the times.

The group kept on for a while, until the mid 70's when Michel Georges teamed up with then-relatively unknown Vincent Dionne (a brilliant percussionist at ease in all sorts of music) and founded the superb DIONNE-BREGENT duo, first sounding like TANGERINE DREAM meeting NEU! and then with their second like Mike Oldfield.

It is only after this collaboration ended that the brother reunited the group in 79 (although there were no saxes this time, but with Vincent Dionne on percussions) to record their second Pour Partir Ailleurs (for going elsewhere) which repeated the formula of their first album, this time making emphasis on Leclerc (who had become Quebec's soul and an icon only rivalled by the older Gilles Vignault), even if the album is rockier, but stays very progressive with dark and haunting atmospheric moments and elsewhere pointing to avant-prog. This second album got a recent reissue with ProgQuebec, as probably will their first one soon. Michel Georges went on to compose electro-acoustic modern classical music for much of the 80's before sadly leaving us in 93.

Dionne - Brégent - Bio

Quebec duo of artistes that are unfortunately forgotten on the international progressive music scene. If both were never the groundbreaking artistes like Eno or Bruford were, both Vincent Dionne (a percussionist) and Michel-Georges Brégent (a keyboardist verse in synthesiser music) joined forces after a personal solo careers for a couple albums and actually if not broke ground, the...
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DIONNE - BRÉGENT discography


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DIONNE - BRÉGENT top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.27 | 9 ratings
Et Le Troisième Jour
1976
3.82 | 9 ratings
Deux
1977
3.88 | 6 ratings
Bregent - Pour Partir Ailleurs
1979

DIONNE - BRÉGENT Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

DIONNE - BRÉGENT Videos (DVD, Blu-ray, VHS etc)

DIONNE - BRÉGENT Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 3 ratings
Dionne - Brégent
2006
3.00 | 2 ratings
Vincent Dionne - Nil Bleu, Nil Blanc
2006

DIONNE - BRÉGENT Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

DIONNE - BRÉGENT Reviews


Showing last 10 reviews only
 Et Le Troisième Jour  by DIONNE - BRÉGENT album cover Studio Album, 1976
3.27 | 9 ratings

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Et Le Troisième Jour
Dionne - Brégent Progressive Electronic

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.

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 Deux by DIONNE - BRÉGENT album cover Studio Album, 1977
3.82 | 9 ratings

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Deux
Dionne - Brégent Progressive Electronic

Review by Progfan97402

5 stars When I felt I was scrapping the bottom of the barrel when it comes for prog rock, a few years back I started looking towards the prog scene in Quebec and unearthed a bunch of gems. Harmonium is a bit obvious, perhaps, because even mainstream Quebec society knows who they are. They're that well-known and famous there. Enough for a made for TV movie on them in 2003 (although Serge Fiori was less than happy with the movie and how he and the band was presented, from my understanding). I know Beau Dommage was also very big. Through the years I discovered great stuff from Pollen, Et Cetera, Sloche, Opus 5, and Morse Code. Some of these groups come from folk backgrounds (Harmonium most noted), some of them Gentle Giant influenced (Et Cetera most notable), and others taking from either fusion or the British and French scenes (Morse Code, for example). But there hadn't been a whole lot of electronic acts, and Vincent Dionne and Michel-Georges Brégent is an example, and I'm so glad I discovered them. I started with Deux, which is their second album, which is no surprise, given the title (in cause you didn't know, "deux" is French for "two"). The avant garde leanings of their debut was absent here, going for a more symphonic approach, most particularly on "Le Prophète". They did not sell out in any way, shape or form. This is nothing short of amazing, this album is full of Moog, Orchestron, clavinet, Farfisa organ, and tons of drums and percussion done in that nice '70s fashion I so love. There's even a little Mellotron, some tron flute towards the end of "Le Prophète", but for some strange reason Michel-George Brégent preferred the Orchestron (the Vako Orchestron is a professional grade version of Mattel's Optigan, which runs on flimsy optical discs). It's easy to tell you're hearing an Orchestron because it has a more muddy, scratchy sound to it, and you can hold a note indefinitely. "Campus" has a bit more of a fusion oriented feel to it, I really love how Vincent Dionne's drumming catches up to the pace of the synth sequencer pattern. "Transit Express" has a bit of a Tangerine Dream thing going on with a synth pattern (the synth also sounds like how Cameron Hawkins of FM might have sounded had he recorded an album of electronic music around this time period, rather than the crossover prog FM were doing around this time). As far as I'm concerned, this is rather original electronic music, and I highly recommend this to fans of electronic and prog. I really can't seem to find any fault from this album.

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 Et Le Troisième Jour  by DIONNE - BRÉGENT album cover Studio Album, 1976
3.27 | 9 ratings

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Et Le Troisième Jour
Dionne - Brégent Progressive Electronic

Review by apps79
Special Collaborator Neo Prog Team

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.

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 Deux by DIONNE - BRÉGENT album cover Studio Album, 1977
3.82 | 9 ratings

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Deux
Dionne - Brégent Progressive Electronic

Review by philippe
Special Collaborator Content Development & Krautrock Team

3 stars Ambitious work from this Canadian progressive electronic collective. They propose beautiful, melodic, cosmic electronic inventions with lot of synth scales, gorgeously orchestrated epic ambiences. For my part I think that it sounds a bit dated and mainstream. Their style is really classical & cheesy but reveals some interesting mysterious, spaced out variations. All compositions have this special harmonised atmosphere thanks to grandiose keyboards and heroics passages. "Prologue" is a semi-medieval ambience dominated by organic continuous sound forms, bucolic flute lines. "Le prophete" is a massive, melodic and emotional electronic epic, containing really distinctive synthesiser lines (reminding some Goblins' dark hymns). After 8 minutes the sound becomes more symphonic with middle age intonations. "Campus" is a ridiculous mainstream electronic composition with accessible, really kitsch & exotic melodies. However a good mention to the second half of the composition with its furious improvised, really proggy keyboard / drum duet. No super exciting and the synth combinations are always in the same tone (really linear for the ears). Recommended for fans of new agey synth essays and mysterious symphonic epics.

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 Vincent Dionne - Nil Bleu, Nil Blanc  by DIONNE - BRÉGENT album cover Boxset/Compilation, 2006
3.00 | 2 ratings

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Vincent Dionne - Nil Bleu, Nil Blanc
Dionne - Brégent Progressive Electronic

Review by Sean Trane
Special Collaborator Prog Folk

3 stars A compilation from Dionne's two albums around the turn of the 80's (Destinations from 88 and Parade from 91), this compilation is not an anthology. Having never heard either of those albums, I can't possibly tell you if the choices made are judicious or not, but we shall let Vincent be the judge. Both albums were ethnic fusion albums with a slight new-age twist that could be easily confused as an ECM label release. Coming with its own separate ethnic artwork, the compilation shuffles tracks from both albums without much sense (at least not apparent to this writer), not even respecting the movement order of the mini-suite Transalpine (from Destination), or including it in its entirety.

The over half of the tracks come from Parade, which appears to be the better albums of the two, at least the more acoustic and instrumental (as opposed to Destinations' programmed and synthesized production). Indeed the lead-off title track (of this compilation) is a very new-agey piece as is the solemn Jardins De Roc are from Destinations and Oregon's Paul McCandless's wind instruments won't change much to the overall feel. A minor surprise in Parade, where Dionne recycles one of the riffs from Dionne- Brégent's Troisième Jour, remaining unclear whether by design or accident. Much less by accident and much more by design (and not quite as subtly either) is Ocean Tears' riff-in- seven also coming from the same album, and maybe being my fave track from the album.

One of those hundreds of album of the ethnic fusion genre, none better or worse than this one, but not really essential (and a far cry from the superb D-B duo's essential works), unless a die-hard fan of this genre.

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 Bregent - Pour Partir Ailleurs  by DIONNE - BRÉGENT album cover Studio Album, 1979
3.88 | 6 ratings

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Bregent - Pour Partir Ailleurs
Dionne - Brégent Progressive Electronic

Review by Sean Trane
Special Collaborator Prog Folk

4 stars After the demise of the brilliant DIONNE-BREGENT duo, Michel-Georges Brégent reformed with his brother Jacques their eponymous group and issued their second album, which was based on the same principle, the interpretation of poems/lyrics and the adaptation to music. The group assembled for the recording includes Vincent Dionne (but he will not tour) and Lasting Weep's bassist Claude Chapleau, but they will not have the double sax attack of their debut. Actually most of these tracks were written prior to the formation of DIONNE-BREGENT, but they were never recorded before 78 for this album. Graced with an intriguing face/eye artwork, the music is much rocker, but presents the same kind of adventurous forays into avant-garde music that Poussière Des Regrets.

After the horrible adaptation of Ferré's play on word of Rococo (including the communist allusion of "coco"), it is clear that they were much less inspired (this is the only track where the music is signed/adapted by Jacques, instead of Michel-Georges) than with Dieu Est Nègre on their debut album; but they quickly make up for it by the superb adaptation of Leclerc's Mes Longs Voyages, where they show the best of themselves. Indeed over the almost 10 minutes, Brégent will develop a stupendous spectrum of ambiances, dark, angst-filled improvs bordering free jazz. There will be another three Leclerc-inspired tracks, including lugubrious and gloomy Les Mouillures (the wettings), En Muet (in mute) on a cool jazz guitar, and much later in the album, the short Qu'Ont Vus Tes Yeux? (what saw your eyes) with its folk theme turning into a nightmarish circus music. Thopughout the album, the musicians are regularly at the forefront, amongst which Dionne's percussions and Chapleau's excellent bass playing, but also Brégent's Orchestron (a modern version of the mellotron I gather) and guitarist Monpetit's rare flute.

The up-tempo but tense Charles Trenet-inspired (of all people) La Folle Complainte is clearly another highlight, where singer Jacques can really show the wide mood ranges he is capable of, but the whole group jazzes meanly. L'Intersection (coupled with a short Couvre-Feu (curfew) is a stunning full-out 100MPH jazz-rock foraying into avant- prog with some wild female scats, and is yet another nail into your coffin, especially when reaching the martial Couvre-Feu part. Liberté is the only track of the album that was composed expressly for this album and it sticks out a bit: coming with an extended vocal section (often closing on operatic feels), the piece could be coming from a Zappa album, had it the slightest hint of humour. Excellent but not easy. The closing and menacing Sur Le Balcon (on the loggia) with Dionne's vibraphone is yet another highlight.

The ProgQuebec reissue comes with a bonus live recording of the group prior to this album's recording (thus showing that most of these tracks were indeed much anterior to the album's release) in June 77 at UQAM University. Almost all of these tracks will be presented on Pour Partir Ailleurs, which in a bit deceiving, but it is interesting to compare the work-in-progress versions, where Longs Voyages and Intersection are the best, but cannot compete with the later studio versions. Only a short version of Dieu Est Nègre belongs to the debut album, but fails to show the insanity of the piece that was the cornerstone of the concerts in the first half of the decade. Not really bringing that much of added value, these live tracks (as well as the album per se) will be of interest to those that have a good mastery of French, but it is not absolutely essential, either as the music is stunning enough to be worth the investing price alone.

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 Dionne - Brégent  by DIONNE - BRÉGENT album cover Boxset/Compilation, 2006
4.00 | 3 ratings

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Dionne - Brégent
Dionne - Brégent Progressive Electronic

Review by Sean Trane
Special Collaborator Prog Folk

4 stars This ProgQuebec-assisted release is one of the best releases of this year, and certainly one of the best deserved one to. The duo's two albums reunited on the single release (with a few excellent bonus tracks) is celebrating one of La Belle Province's most surprising acts (along with the crazy Michel Madore) and gives the new world answer to Krautrock. Coming with a rather informative (French-only) booklet reproducing the artwork, but also going over the full re-issue adventure and a few impressive live pictures.

With the integrality of both albums remastered (read the respective reviews on the album page), this re-issue also has a pair of unreleased tracks, one of which is a Stockhausen percussive piece (recorded pre-D-B time in 74) and the other a very Tangerine and Jarresque fusion. Quite a stunning close to this double set.

This "anthology" is simply one of the moments' best reissues and is absolutely necessity for all Krautrock fans and especially those into electronic music. I cannot stress this enough that such works are re-discovered imperatively by all type of progressive music-lovers.

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 Deux by DIONNE - BRÉGENT album cover Studio Album, 1977
3.82 | 9 ratings

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Deux
Dionne - Brégent Progressive Electronic

Review by Sean Trane
Special Collaborator Prog Folk

4 stars One of the weirder things of this Quebecois duo is that their two albums are completely different, yet just as stunningly beautiful. With this album, the duo is definitely more inclined between TD and Mike Oldfield or Vangelis or even in some ways Jean Michel Jarre. One could also think of some of The Enid's most symphonic works too. Although not nearly as adventurous s the first album (as the rather bland artwork will tell you right away) the album is nonetheless extremely interesting in the way that that the album is an Vangelico- Oldfield-Froesian masterpiece and more than just a heavily influenced album, a great album, period.

Much more interesting than the rather empty Tubular Bells or Incantations, much more enthralling and Froese's Aqua or Ash Ra's later 70's music and much more convincing than Vangelis' Earth, this album is an altogether more accessible album than their debut collaboration, but just as stupendous (even grandiose, but never cheesy) in its own way. As you might guess, the multi-movement suite of Le Prophète is the centrepiece, but the twoi tracks on side 2 are also worth their weight, even if Campus has a not too-lengthy drum/percussion solo (not a fan of those).

Well this second album is greatly different from its debut, but in its own way, is just as essential. A third album was foreseen and partly written, but apparently not really recorded except for one great track (in the same genre as Deux) for a soundtrack, and is presented as a bonus on the re-issue.

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 Et Le Troisième Jour  by DIONNE - BRÉGENT album cover Studio Album, 1976
3.27 | 9 ratings

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Et Le Troisième Jour
Dionne - Brégent Progressive Electronic

Review by Sean Trane
Special Collaborator Prog Folk

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.

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