Onderhond schreef:
Wat me ondertussen wel opvalt is dat ik na 13 toevoegingen nog steeds de "hardste" toevoeging op m'n naam heb. Hoewel dat op zich niet zo vreemd is, gaat het dan wel weer om een album met wat chille/dnb nummers op. Iets te eenzijdige toevoegingen ?

12k is proud to announce the debut release from Montreal native Ghislain Poirier. Il n'y a pas de Sud...

In an alluring departure from the sound of 12k's recent output, Il n'y a pas de Sud... blends broken melodies and sonic slips with a very stripped down version of the berlin techno sound. The result is a sparse blend of rhythm and space with a slow diffused groove as beats flux and vibrate beneath lo-fi oscillations of warm chords and clouds of bass.

Il n'y a pas de Sud... was created using an ageing PC with so little processing power that Poirier is forced to compose each work in parts and later piece them together. Using this approach he pushes himself to make the most of very little, which he does very well, and has developed a unique and fresh signature sound proving that the latest, most trendy software isn't necessary to create captivating sound.

Musical accomplishments aside, Ghislain Poirier is also a visual artist. He has had many solo exhibitions of his paintings and drawings in the city of Montreal, notably at the Maisons de la culture Côte-des-neiges, at the Galerie de l‚île-des-moulins and at Atom Heart.

Il n'y a pas de Sud... is a brilliant work from a new face in minimal electronic sound.

Something of an anomaly in the 12k catalogue, Ghislain Poirier's 2001 release lacks the high tech sheen usually associated with the label, but still stands as one of its most effortlessly pleasing releases. Created on an ageing PC with little processing power, Il N'ya Pas De Sud is a distinctly lo-fi take on minimalism. Poirier pieces together small fragments and loops to produce warm, groove-based compositions that approach a kind of stripped down techno sensibility. A very interesting historical document considering the very different direction Poirier's sound has taken in recent years, and a must-buy for followers of both label and artist who missed out on this first time round.

Visual artist Poirier, from Montréal, enters the Techno minimalist frame with a simple yet generally effective combination of beats that shuffle and glide, looped melodic fragments and resonant expanses. The music works best where the beats remain relaxed and unhurried and the resonance is at its most cavernous, evoking an untroubled sashay through the void. Elsewhere there are sluggish passages where the material is stretched to thinness and strats to drag. (Julian Cowley)

Il N'y A Pas De Sud... is the first release from Montrealer Ghislain Poirier. And it's remarkably louder than most of the records released on Taylor Deupree's almost silent but brilliant 12K label. Truth be told, it's not that loud at all, but unlike many on 12k, it is most definitely audible to the human ear. Poirier creates his stark, minimal techno using only slow, building tempos and bulking up the minute tones with lush reverb. The very insular nature of the music strikes immediate comparison to German dub-tech producers Thomas Brinkmann and Pole. To assemble the record, Poirer put to use his a rather aging PC, making the meticulous process of binding the microsonic blips and squiggles that much more painstaking. Be assured that an enormous amount of effort went into putting together Il N'y A Pas De Sud and it certainly pays off. The old computer and software behold an inexplicable machine soul that is so absent on many new techno releases. Chopped synth samples layered on top of crackling wires and muffled percussive skitters make tracks like "Desequilibre" hypnotically intriguing. "Un Pont Entre Deux Rivieres" stands out as one of the disc's most reflective tracks, allowing quieted guitars to puncture the surface while a tribal beat pulses gently beneath. And the pops and clicks of "Oui-Dire" place Poirier quite close to fellow Montreal sound sculptor David Kristian. Il N'y A Pas De Sud... is an impressive experiment in restraint that is both stylish and emotive. Sure the record is overly cerebral, but it's a beautiful reconfiguration of the noises that digital sound processors refuse to deal with. Rejected machines find warm and caring homes in the minds of producers like Poirier. This is textured, animalistic technology rendered into incredible music ˜ a brilliant debut. - Ken Taylor

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