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Mathieu Lamontagne
Persistance

Album US 2013 on Subterranean Tide label
Electronic (Ambient, Drone, Experimental)

What caught my attention first when listening to "Persistance" was its subtlety. Through this balmy ambience I found myself in a complete relaxed state. Three thoroughly constructed pieces of refined, gentle and serene moments. With both light and dark rhythmic features, “Persistance” reflects our own fragile beings. The artwork conveys a persistent weathering and tearing away at the surface. This reminds me of the music – tearing away itself, slowly chipping off textures and sound. Patiently awaiting, the surface exposes its undertones in a slow and aging manner. Time transcends further echoing through the soft beat of the song “jour apres j” which translates to the day after the day you are waiting for. The second song "tantôt loin, tantôt près" means “sometimes far, sometimes close.” This could be used in both a physical and emotional context. For example the moon would be described as such or perhaps it could refer to a relationship between two people. For six minutes we come close to the heart of the song through its delicate recordings, yet the background beat reminds us we are still far away. And in the end we find ourselves "dans le champ" translating as "in the field." The track is based on a field recording of a lovely day at the artist's family chalet. It reflects the poem, “Septembre,” in both spirit and nature. ~Emily Ferrell "Septembre. L'atmosphère dort, claire et lumineuse ; Un soleil ardent rougit les houblons ; Aux champs, des monceaux de beaux épis blonds Tombent sous l'acier de la moissonneuse. Sonore et moqueur, l'écho des vallons Répète à plaisir la voix ricaneuse Du glaneur qui cherche avec sa glaneuse, Pour s'en revenir, des sentiers plus longs. Tout à coup éclate un bruit dont la chute Retentit au loin, et que répercute Du ravin profond le vaste entonnoir. N'ayez point frayeur de ce tintamarre ?... C'est quelque nemrod qui, de mare en mare, Poursuit la bécasse ou le canard noir." - Louis-Honoré Fréchette (1881)

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