Reviews of Berger Rond have appeared in FAME previously, six of them, and the productive madman has returned with an outing that is ever more the Art Bears / Beefheart / Bartok / Robert Wyatt / God Only Goddam Knows What strain than ever before. Mr. Rond (true name: Vincent Bergeron) puts a whole new dimension in psychedelic music and here has eschewn some of the earlier more classicalist approaches for a greatly enhanced neoclassicism that George Crumb and Morton Subotnick might have composed back in the old Nonesuch days of derring-do. Rarely is music so discomforting and compelling simultaneously.
If art damage is one of the very slowly birthing sub-cultures of progressive art music—and it certainly is, as Mike Patton, Mike Keneally, and others continue to demonstrate to far too meager reception—then Berger Rond has already solved many of its gestating problems. I have no clue how people can even think this way, let alone weave such abstractly daft and fascinating songs, but work on this order is presage of things to come—not in a rush, certainly not in abundance, but definitely in deliciously aschismed fits and starts.
Un Doux is music to go to sleep to, delirious in the waking world until falling into elegantly surreal nightmare. More than ever, Ernstian canvases are painted here, alien and forbiddingly seductive, lucid while enigmatic. I'd love to see what this gent might do in collusion with another equally offbeat brilliance but I'm not sure such people could ever immisce properly, so luridly singular is each one's work, yet…the sheer gravity of what might result compels one to ponder such things. Nonetheless, I'm more than serious when I say that Berger Rond's is an important voice, almost without peer, and rightfully sits in with such pre-eminants as Carter, Holliger, Kremer, Sclavis, Schnittke, Wold, and Lachenmann. When you feel like traveling from Sun Ra's furthest-out pieces over to Schoenberg, try Berger Rond as a waystation.
Edited by: David N. Pyles
Copyright 2011, Peterborough Folk Music Society.
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