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Demi-Heure biography
This group from Quebec (the city) only recorded one self-released self-titled album before quitting, so you can imagine just how rare and sought after this might be in its vinyl form. The group consisted of Jacques Roy on lead vocals and guitar, André Ringuet on horns and guitars, François Tachereau on keyboards, Claude Lépine on drums and Richard LaRue on bass. Also gravitating around the group were Chistine Fortin (flute) and Hélène Parent (backing vocals). Musically Demi-Heure played a typical Quebecois progressive folk rock somewhere between HARMONIUM and BEAU DOMMAGE and can only please amateur of the genre. Surely ProgQuebec will come around to release this small gem from La Belle Province.

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DEMI-HEURE discography

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3.22 | 8 ratings

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 Demi-Heure by DEMI-HEURE album cover Studio Album, 1978
3.22 | 8 ratings

Demi-Heure Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

3 stars 3.5 starsreally!!!

Another super-rare sighting in La Belle Province's racks, Demi-Heure's sole self-titled album was a private pressing and release in 78. Graced with a superb artic winter artwork, the album presents a typically Québecois progressive folk rock with Christine Fortin's flute often in the front sharing the spotlight with Hélène Parent on vocals.

Opening with the superb Clochers (church tower & houses), Demi-Heure sounds a bit like the Harmonium of the debut album, but also of Cinquième Saison. This is no doubt in great part due to the flute, but also Ringuet's clarinet, both getting extensive use on the last two Harmonium albums. Actually quite strangely Le Vieux presents a sort of Dixie-type jazz-folk that echoes Harmonium's Dixie on Saison, both second tracks. Miel Du Temps and Retrouvailles are returning to a calmer Harmonium-type of soundscape, but the finale of the latter is somewhat overstaying its utility.

Partir opens the flipside is a beautiful ode to somewhere else but the winter-stricken Belle Province over delicate guitar arpeggios, growing slowly via a violin and clarinet to end as a group effort. The rest of the album glides effortlessly by in the same quiet folk rock mode with prog and jazz touches, sometimes reminiscent of l'Engoulevent or Brèche. The album dies slowly on an electric piano and flute twirls, leave on tiptoe.

This is typically the type of album that would've been much better known if released in 73, rather than in 78 during the disco tsunami. By then, Demi-Heure appeared in the last quarter of Quebec's prog boom, when things were starting to disintegrate

Thanks to sean trane for the artist addition.

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