VOL. 333

An early 70's prog outfit from French Quebec - Canada, who wore Togas, funny hats and had a weird obsession with the letter 'O' and the number '3'. Producers of a 333 page book with 33 illustrations that acted as a kind of C.V. That, and references to Karl Jung's 'Synchronicity' will leave you in no doubt that you'll be in for a bit of a rollercoaster ride.

Raôul Duguay isn't the best vocalist you'll ever hear but at least he sings in French, lending an air of authenticity to the music. He does however, sound like he's downed 3 bottles of wine before picking up the microphone...

This is a wacky, unpredictable sprawling double album consisting of no less than twelve musicians. '333' sounds quite Zappa-like minus the smut in many parts. The recording quality itself is nothing special sounding a bit tinny throughout. Some parts degenerate into 'Musique Concréte' territory in what can only be described as someone dismantling a bicycle whilst tuning a shortwave radio. Even Beethoven makes an appearance amongst squealing guitars and crazy percussion.

A real mixed bag and one that I'm still not sure about after 6 years of occasional listening. This is controlled chaos where you can tell it's partly scored and partly jammed. There's a strange sense of timing and quick jump cuts throughout which leaves me a little bewildered, but I guess that's half the charm. Although hearing a piccolo being played cheered me up no end.

Disc 2 is easier on the ears but is less conventional, beginning with a 20 minute take on Bach's "Concerto in D Minor' which is played with precision but without any emotion at all. Really odd and confusing, especially during the last five minutes where there's screaming and shouting during what sounds like a dirty striptease act.

Never boring, sometimes inspired and at others too tuneless and directionless to be of much interest..

A difficult, decadent yet ambitious album that will have more haters than lovers.

Mysteriously this album should be much more polished than it sounds, and at the same time the musical unification in the whole album should be perfectly disrupted with a strong intention. What an awesomeness. This creation lighted with a small electric bulb "Vol. 333" by a Québécois avantgarde rock combo L'INFONIE is, honest to say, one of my favourite albums all over the rock world, in which I've got immersed over and over until now. Sounds like they had played comfortably under the clear blue sky, introducing a variety of musical elements.There is no laziness nor seriousness around them but fantastic atmosphere based upon such a strict ensemble produced with their incredible technique.

From the beginning ... the starter "Paix Prélude" enough advocates their colourful diversity. The first distorted sound explosion is so powerful enough to knock us out, and their improvisation-oriented sound presentation would get delightfully harmonized as the song makes progress toward the Paix Sections. "Paix Section 1-17" can be called also as a one-man theatre by the vocalist Raôul. His percussive, precisely rhythmical voices is too splendid and too creative to be mimicked by anyone. And all of the rock commune support him upon their brilliant instrumental arms. This is exactly a cooperation in the L'Infornation. On the other hand, a sudden explosive shout by Raôul in the beginning of "Section 19" reminds us of old-fashioned funk. What did they think on the play? Another one-man stage, very interesting, impressive.

A great mass of classical essence, incorporated into this project of theirs, gets mixed, merged into avantgarde environment naturally but deliberately. "Ode To Joy (via in the final movement of Beethoven's Ninth Symphony)" is featured in the middle part of "Section 33-50" or Ravel's "Boléro" in "Section 1-17". Could say so effectively I guess. "Concerto En Ré Mineur" Allegro and Adagio are completely classical concertos featuring brilliant piano play and a chamber ensemble. The last "La Tounne Platte" is such a free jazz, flooded with sound extremity launched by the whole rock commune, and can be mentioned as one of the symbolic tracks in this double album.

I'm sure there are pros and cons upon their soundscape (sounds a tad eccentric, purposeless or less strategical I'm afraid) but why cannot we call this their originality? This creation should be the one that appears L'INFONIE's decent attitude for music itself.