Partir Pour Ailleurs (1979)
My memory of this album is almost non existent. I could have sworn I'd heard it prior to 2017, and wrote a review, but I have no record of such. The two Dionne-Bregent albums, yes, but not Partir Pour Ailleurs.
And this isn't going to be easy. It's one of those unclassifiable prog rock oriented albums, which can only be considered a plus. The brothers Bregent consists of keyboardist Michel-Georges on keyboards, and Jacques on vocals. They are joined by at least five others on guitar, bass, drums, and reeds. This includes former collaborator Vincent Dionne. Jacques' French vocals are intense, recalling some of the Theatrical prog bands coming from France similar to Ange and Mona Lisa. The album opens with a 50s styled rock n roller like Johnny Hallyday. It's a complete head fake, as the remainder is a mix of challenging prog, heavy fusion, and electronic styles. Michel-Georges background in the field of progressive electronic ensures the listener that the music will not crossover into popular styles easily. There's even elements of Zeuhl and Canterbury present here. The music requires intense focus, as it's a very deep, intelligent, and surprisingly melodic affair. This is no academic avant prog album. Though recorded in 1978, most of the material is from 1972, which might explain the high level of creativity.
Also lost to memory is the CD includes a full live show titled Live A L'Uqam 1977. This is a more stripped down affair. Other than the final track, the others are live recordings of material taken from the album proper. Given the auditorium atmosphere, it would be difficult to produce the same results as the studio offered. No less satisfying however.
I did not realize that this is one of the best CDs in my collection. Until now.
Ownership: 2007 ProgQuebec (CD). Booklet with recording details, photos, and a short biography. Acquired in 2017.
6/10/17; 3/27/26 (review)
One year later from the debut, Dionne et Bregent provides us with a completely different outlook on Deux, one considerably more positive. Not to mention the material is much more of a complex nature, verse the entirely atmospheric debut. The first side, broken into seven parts, may recall for the listener other keyboard / drum progressive rock duos such as Rusticelli & Bordini, Eden (France), or Kashmir. There’s quite a bit of variation among the seven themes presented here, from quiet harpsichord passages to raging Moog solos.
The backside of Deux positions Dionne and Bregent firmly in the high energy, but melodic, fusion category – quite a ways from the dark, alien sounds of 'L’Eveil du Lieu' from the debut! Two tracks are presented here: 'Campus' and 'Transit Express' (could have they known about the excellent French fusion group of the same name?). Tangerine Dream circa Force Majeure would be another reference. Plenty of great soloing (Moog, Mellotron, Clavinet, vibes, xylophone), time signature changes, and complex songwriting.
Not surprisingly, the two bonus tracks are, once again, very different from anything else on display. Dionne performs a 13 minute solo percussion version of a 1959 Stockhausen composition, which has an academic "serious" modern classical feel about it. The final track is the 10.5 minute 'Fil de Terre', which apparently was recorded for a soundtrack. It’s a rock based affair, not too distant from the material on 'Campus', but again there's a twist, as this is considerably darker in tone with some nice violin soloing. No date is given, but sounds a bit earlier than the two albums proper. The duo themselves called their music Rock-Classico-Cosmique. That’s more accurate than anything I could think of!
Sadly Michel-Georges Bregent died in 1993. Bregent has other albums, most notably with his brother Jacques in the band with their surname, but his work with Vincent Dionne is unparalleled in its creativity.
Ownership: 2006 XXI-21 Productions (2xCD). Includes ...Et Le Troisième Jour in its entirety + two bonus tracks. Acquired in 2006.
Deux (1977)
The backside of Deux positions Dionne and Bregent firmly in the high energy, but melodic, fusion category – quite a ways from the dark, alien sounds of 'L’Eveil du Lieu' from the debut! Two tracks are presented here: 'Campus' and 'Transit Express' (could have they known about the excellent French fusion group of the same name?). Tangerine Dream circa Force Majeure would be another reference. Plenty of great soloing (Moog, Mellotron, Clavinet, vibes, xylophone), time signature changes, and complex songwriting.
Not surprisingly, the two bonus tracks are, once again, very different from anything else on display. Dionne performs a 13 minute solo percussion version of a 1959 Stockhausen composition, which has an academic "serious" modern classical feel about it. The final track is the 10.5 minute 'Fil de Terre', which apparently was recorded for a soundtrack. It’s a rock based affair, not too distant from the material on 'Campus', but again there's a twist, as this is considerably darker in tone with some nice violin soloing. No date is given, but sounds a bit earlier than the two albums proper. The duo themselves called their music Rock-Classico-Cosmique. That’s more accurate than anything I could think of!
Sadly Michel-Georges Bregent died in 1993. Bregent has other albums, most notably with his brother Jacques in the band with their surname, but his work with Vincent Dionne is unparalleled in its creativity.
Ownership: 2006 XXI-21 Productions (2xCD). Includes ...Et Le Troisième Jour in its entirety + two bonus tracks. Acquired in 2006.
11//06 (review); 12/27/18
Also own and need to revisit Et Le Troisième Jour.
12/28/18 (new entry)
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