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Vincent Bergeron

Primary Instrument: Vocalist

Born: December 21, 1979    

Vincent Bergeron

Spasmacousmatic / Schizophonia composer (since 1997), helping all unknown and dynamic sounds (11 albums, 72 compositions in 2012.10.26). All about the quality of the trip, allergic to abusive conceptualisation or derivative and arrogant academic formulation. Berger Rond's melodic and abstract music comes from the building of a self-invented craft. It sometimes changes in approach, sometimes stays the same. Always more sound combinaisons tried during the process from one composition to another. His do-it-yourself method is not the point, it is only what he does to get through sequences he love, a trip without obvious climax. Vincent writes music and poems that he hears in his head and that does not need to be connected to this world passing and current priorities. Listen, think or not while it is playing....
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Awards

• About my electronic songs recognized by quality composers. Here is the most beautiful compliment. It is about my musical production during the 2003-05 period : "In the course of a lifetime, one encounters very few major musical talents. Vincent Bergeron is one of those few, a unique composer who is at the forefront of musical thinking. I respect his music professionally and I admire it personally. I find it deeply impressive on every level—musical, intellectual, and emotional." Noah Creshevsky Composer Professor Emeritus, Brooklyn College of the City University of New York Director Emeritus, Center for Computer Music at Brooklyn College
VINCENT BERGER ROND – ELLE AVAIT RAISON HATHOR (CD by Spectropol) I’m very happy the releases of this Canadian maestro end up at my disc for reviewing. In the last few years I reviewed several of the releases by this extraordinary talent. [...] this new release, is a pleasant surprise. The sampled constructions sound more organic and multi-dimensional now. This makes this unclassifiable music a bit more accessible and enjoyable. What is new also is the fact that this is his first release by another label, namely Spectropol Records. In a way his music is comparable in some aspects with that of Biota and Noah Creshevsky. Leaving the acoustic sound material in tact as far is possible, but manipulate it in a way that makes it evident that it is not or even cannot be played by these instruments. Most, if not all material comes from recordings he made with Fred Szymanski (electric guitars), Laura Kitty (voice), Jim Goodin (banjo) and several others. Through cutup procedures Berger Rond reassembled the material into his compositions. He builds structures and forms of interdependent activity that is not met in ordinary music. What he has in common with Creshnevsky is that this music sounds far from academic. On the contrary, this music is very human and ‘physical’. His compositions do not classically work towards some climax. He builds intriguing, complicated looping structures, making the impression of waves of music that return and return. Something that I did not touch on in earlier releases of Berger Rond are his sources of inspiration. Poetry we should mention here. He states: “After music about manhood (Un doux rêveur dans. Homme Sauvage dit.), here is music about womanhood (Elle avait raison Hathor).” The five pieces on this album take their inspiration from female gods taken from Japanese, Greek, Inuit and Egypt myths. But from this almost purely instrumental music it cannot be picked up by a soul like me. (DM) Vital Weekly ”The sonic materials he employs encompass modern chamber music and certain sounds from the popular tradition, such as drum kit and electric guitar, but they are treated in much the same way that William S. Burroughs liked to treat his text, as formally unanchored elements within an apparently stochastic sequence. To what extent this work is aleatory or improvised, and to what extent it is constructed, is impossible to determine, and doesn’t matter a great deal; the experience of listening is one that undercuts any comfortable reliance on a predictable resolution or cyclicity, while maintaining some narrative sense through the relative stability of the broad strokes of texture. The poetry that accompanies the release carries denotational meanings consistent with this approach, its female protagonists in seeming conflict with their worlds; while they display the strength usually ascribed to female deities, these archetypes are used to point at altogether more uncertain and dangerous experiences than is usual in modern reinterpretations of myth. It is a major creative risk for a man to tackle women’s experience in any depth, but here the composer’s courage makes for music that demands active engagement, and richly rewards it.” http://oliverarditi.com/2012/08/09/various-artists-album- roundup-011/

“Et Elle avait raison Hathor est clairement une coche ou deux au-dessus des récents opus de Bergeron, un artiste singulier s’il est en est, dont les pièces se construisent à partir d’une déconstruction”, Monsieur Délire

It is nice to appear in the same list than millionaires rockers like Sigur Ros (Innis) prog rock forces of nature's Emerson, Lake & Palmer. See Mark S. Tucker. Perfect Sound Forever 2011 http://www.furious.com/perfect/2011writerspoll.html

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June 2010
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Featured recording “En dehors de tout”

En dehors de tout
Self Produced (2013)
Download jazz mp3 “Une insulte a part entiere” by Vincent Bergeron Download jazz mp3 “Pyramidal Patterns” by Berger Rond Download jazz mp3 “Me Detester Quand Aime” by Berger Rond Download jazz mp3 “Le Son De Claude Gauvreau” by Berger Rond Download jazz mp3 “Le monde se dfait toujours tout seul” by Berger Rond Download jazz mp3 “Intention Dvorante” by Berger Rond Download jazz mp3 “All Words in World” by Berger Rond Download jazz mp3 “The Stairs of the Unsteady” by Berger Rond Download jazz mp3 “Bruissement de griserie” by Berger Rond

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