MICHEL MADORE

Mac has a bit of GonG, more in the ambiance than in the pure zaniness, but sets the tone for the album to come. Closing up the first side is the lengthy Avant Dernière (second last), which claims a certain serenity that propulses into positive thinking, even if some of the sound effects can seem quite dated.

Highlighting the flipside is Rush, again is a bit reminiscent of GonG's isle of everywhere, but breathing its own life. The aptly titled Juggernaut (its almost 10-mins length) is a jewel of space rock that hovers the flying teapots and electric cheeses. Excellent stuff. The short Bali is fitting the album mould with haunting bells and birdsongs aerial synth lines and Madore's haunting 12-string guitar; a fitting close to the album.

Unfortunately, both of Michel Madore's albums have yet to receive a Cd reissue, but something tells me that either XXI or ProgQuebec should indeed one day get interested in them. In the meantime, Madore's two vinyl albums remains accessible (both musically and price-wise), and it shouldn't cost you that much to get acquainted with the man's works, which are much worth the discovery, this one in particular.

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.