01	Le Lanceur De Couteaux (The Knife Thrower)						03:35
	02	Bal Con (Bloody Party)						05:52
	03	Grenaille (Crumb)						00:09
	04	Poupees Russes (Babouchka)						01:38
	05	Funambule (Tightrope Walker)						04:26
	06	En Bazou Dans L'bayou (Three Clowns)						03:11
	07	Feve De Lima (Lima Bean)						01:24
	08	La Dresseur De Chenilles (The Caterpillar Tamer)						05:44
	09	34+9 (43)						04:39
	10	Igor, L'ours A Moto (Igor, The Motorbike Bear)						06:49
	11	Le Terrible Naufrage Du Petit Navire (The Little Ship's Terrible Wreck)						03:02
	12	Maree Noire (Black Tide)						01:48
	13	Thomas L'imposteur (Thomas The Impostor)						00:37
	14	Etes-Vous Costaud? (Strong Men Ring A Bell!)						02:49
	15	Telephage (Wire Eater)						05:42
	16	Mata Hari						02:47
	17	Mme X (Mrs X)						07:09
	18	Argentine Contre Bresil (Argentina Vs Brazil)						00:45

Pascal Globensky (piano synthesizers),
Remi Leclerc (drums, percussions, octapad, synthesizers),
Bernard Falaise (guitars, bass, mandolin, synthesizers, percussions),
Sabin Hudon (saxophones, accordion),
Claude St-Jean (trombone),
Stephanie Simard (violin),
James Darling (cello),
Jean-Denis Levasseur (flute),
Ivanhoe Jolicoeur (trompet),
Stefka Iordanova (vocal)
Recorded in Montreal, in 1995

The title of this means « Elastic Juggling » which I wouldn’t be surprised is a reference to how complex it is to create an album such as this! Miriodor have established themselves as prime Canadian exponents of the complexly classical French twist on the RIO sound, notably a side-step from Art Zoyd and Univers Zero, with many a unique twist of their own. Does « Elastic Juggling » refer to the nature of Miriodor? In fact, with each album from Miriodor, there’s been a twist in their style as the line-up has changed. There are many changes here, since the hard-hitting 3rd Warning, which was created by a fiery aggressive trio it seems that during the recording of Jongleries йlastiques that sax player Sabin Hudon left the band (as he’s credited as an extra musician) after the addition of guitarist and multi-instrumental talent Bernard Falaise. Also, there’s a range of guest musicians playing strings, brass, flute, etc., making for a much richer palette that’s less obviously a 90’s product. With 18 tracks in 62'14'', many of which are linked or segued, it amounts to Miriodor’s most varied yet, and is often almost dizzyingly unpredictable and complex. Notably new facets are : Bernard Falaise’s guitar style which is often reminiscent of Fred Frith, the use of richer sounding keyboards, and also accordion which draws comparison to Von Zamla, though there’s still the atypical Miriodor piano and drums nucleus of Pascal Globensky and Rйmi Leclerc. Here, more than ever, Miriodor relate closer to other Cuneiform acts like Present, Univers Zero and Birdsongs Of The Mesozoic, with a dynamic, intricate and beautifully crafted blending of rock-fusion, classical, folk and avant-garde musics, « Elastic Juggling » is all the fun you’d expect it to be!

- Alan Freeman, Audion, #35, Spring 1996




What kind of music is this, anyway?


Anyone who has ever played in a band has faced this apparently innocuous question numerous times, but with Miriodor it can trigger an endless stream of interrogations, discussions, arguments and soul-searching. Virtually all bands that play instrumental music put a heavy emphasis on improvisation, but this is clearly not our case. Even though our records sometimes end up in the "contemporary jazz" section at various stores, our stuff clearly hasn't got much to do with Ornette Coleman or Gonzalo Rubalcaba. We've also been linked to various progressive rock and R.I.O. bands, but then again we feel this filiation is only partial. Other people think of what we do as "experimental music", but, as Varиse might have put it, once we play it, we're not experimenting anymore. Most Miriodor compositions are painstakingly assembled and taken apart numerous times before reaching their final version, but once this critical stage is achieved, they don't change much. So, what kind of music is this, anyway?


Let's put it bluntly: we haven't got a clue. We have one hell of a good time trying to make these pieces sound as exhilirating, zany, wickedly contrapuntal, rhythmically hair-raising and harmonically deviant as possible, and we hope you can have just as much fun listening to them as we have playing them, but we still don't know what to call them. On a long minivan ride from Ann Arbor to Chicago, bass player Nicolas Masino came up with this description of what we try to do: "rock-oriented post-modern chamber music, with definite humorous overtones". We all think he stayed in school far too long.


http://www.miriodor.com/en/misc.htm


Rencontres
Cuneiform Records
Rune 108
1986 [1998]

Miriodor
Cuneiform Records
Rune 14
1988

Third Warning
Cuneiform Records
Rune 32
1991


Elastic Juggling
Cuneiform Records
Rune 78
1996

Mekano
Cuneiform Records
Rune 148
2001



Miriodor was formed in 1980 (in Quebec city) by the meeting of Francois Emond and Pascal Globensky. Other musicians came and went until a steady sextet formation was established in 1983. This formation was comprised of Francois Emond (violon, flute, keyboards, clarinet), Pascal Globensky (keyboards, acoustic guitar), Remi Leclerc (percussions), Sabin Hudon (saxophones), Denis Robitaille (electric guitar and bass, singing) and Marc Petitclerc (keyboards). This is the formation of the 1st album « Rencontres » (self-produced). Fall 1984, Francois, Pascal, Remi and Sabin moved to Montreal, establishing themselves as a quartet. This formation did some recordings that have been since then included as extra material on the re-issue of our 2nd album « Miriodor » (Cuneiform Records). Early 1987, Francois left the band as a three-piece. This trio recorded « Miriodor » early 1988.
They performed at the Festival International de Musique Actuelle de Victoriaville (6th edition) in fall 1988 and toured France and Belgium in March 1989. In 1991, release of « Third Warning » (Cuneiform Records) with the band still as a trio. End of 1993, a fourth member joined the band : Bernard Falaise (electric guitar and bass). Recording of a piece as a quartet for the Cuneiform Records compilation « Unsettled Scores ». By 1994, Miriodor was a trio again : Remi, Pascal and Bernard. Release of « Elastic Juggling » (Cuneiform Records), in 1996, by the trio with a myriad of guest musicians. The band performed at the ProgScape ‘96 in Baltimore (USA) on June 29th, at the Montreal Jazz Festival on July 5th and at La Maison du Quebec in St-Malo (France) the last week of August ‘96. The band became a quintet in 1998, with the addition of Nicolas Masino (bass, keyboards) and Marie-Chantale Leclair (saxophones). In 1999, Miriodor composed and recorded a music score for a documentary movie about the passage into the next millenium. This movie was directed by Denys Desjardins and produced by the National Film Board of Canada. The film was released in November 1999. In year 2000, Miriodor played in Chicago and in AnnArbour, for the EdgeFest Festival. There was also some compositions and recordings of a new repertoire done for Miriodor’s 5th album, released on Cuneiform Records, in September 2001. The band is now a sextet, including Marie-Soleil Belanger, on violin.



MIRIODOR


Rencontres
RUNE 108

$13
Miriodor
RUNE 14

$13 Third Warning
RUNE 32

$13 Elastic Juggling
RUNE 78

$13 Mekano
RUNE 148

$13

Miriodor have been making adventurous progressive rock music in Quebec for 20 years. They are among a handful of bands worldwide whose works convey all hallmarks of the "R.I.O." school: adventurous and inspired compositions, rigorous musicianship, a distinctive and highly personalized sound, periodic references to folk music, and a steely determination to make music without compromise. Their music has been called "...a dynamic, intricate and beautifully crafted blending of rock fusion, classical, folk and avant-garde musics." by Audion.

Miriodor's first album, Rencontres, was originally released in an edition of 500 on vinyl only. It has been out of print for a decade, & contains the only recordings of the band in their original sextet formation. Including almost 30' of bonus material, the music here is joyful & spiritied.The music is more squarely in the progressive rock vein than their later more RIO-oriented works, with nods to the classic Quebecois prog sound, and lovely melodies performed on violin, electric guitar, flute, sax or keyboards. Many symphonic/progressive fans think this is their best release ever, & in any event, there's a lot to enjoy here. "...a perfect marriage between the more chamber oriented sounds of Univers Zero...and the more symphonic, woodwind-oriented sound of bands like Happy The Man and VDGG."-Expose.

On Miriodor and Third Warning, this Canadian instrumental trio (keyboards, sax, drums with all also using synthesizers) have managed to do what so many have tried and failed at; grafting the sound and feel of "classic" progressive onto new technology and "new music" forms. With these, their 2nd & 3rd releases, they developed their own high-tech sound that is truely theirs, & borrows from no one. They avoid both the traps of becoming slick/neo-progressive or sounding retro.
"Miriodor is certain to please even the most critical listener...an amazingly dense and richly textured soundfield."-Sounds Like

Elastic Juggling shows them honing their edge even further, using an expanded range of instruments [piano, synths, guitar, bass and drums plus saxophone and other musical guests]. One of the very few bands today whose works combines all of the hallmarks of the "R.I.O." school; adventurous and inspired compositions, rigorous musicianship, a distinct sound that is clearly their own, and a steely determination to do what they do their own way. Adventurous and precise musical statements, played with great fire, wit, drive, and spirit.


Mekano is perhaps their most impressive & entertaining work of all. Operating around the core of long-time members Pascal Globensky, Remi Leclerc & Bernard Falaise, plus newcomers Nicolas Masino (bass & keyboards) and Marie-Chantal Leclair (saxes) & Marie-Soleil Belanger (violin), it continues the trend that the band has adhered to since their beginning; a sound that is always developing in new and interesting ways, but that is still completely recognizable as "Miriodor". "Mekano is the band's fifth recording in 15 years, and what makes the current band so impressive is the graceful, almost effortless way the execute all their complex musical moves, with scarcely a trace of irony or sel-conscious cleverness."-Alternative Press/Bill Tilland

"Miriodor has to be one of Canada's most unique & inspiring groups. Fully engaged in the creation of their own distinctive style of music...Miriodor have constructed a sonic landscape full of wild imagery...not to be missed."-Exclaim.

"An addicting masterpiece, not to be missed."-Expose.

http://www.cuneiformrecords.com/bandshtml/miriodor.html



Miriodor
Jongleries elastiques

Country Canada
Year 1996
Style/Genre Prog (Experimental, Prog-Rock/Art Rock, Avant Rock, RIO)

Artist Info
Miriodor was formed in 1980 (in Quebec city) by the meeting of Francois Emond and Pascal Globensky. Other musicians came and went until a steady sextet formation was established in 1983. This formation was comprised of Francois Emond (violon, flute, keyboards, clarinet), Pascal Globensky (keyboards, acoustic guitar), Remi Leclerc (percussions), Sabin Hudon (saxophones), Denis Robitaille (electric guitar and bass, singing) and Marc Petitclerc (keyboards). This is the formation of the 1st album Rencontres (self-produced). Fall 1984, Francois, Pascal, Remi and Sabin moved to Montreal, establishing themselves as a quartet. This formation did some recordings that have been since then included as extra material on the re-issue of our 2nd album « Miriodor » (Cuneiform Records). Early 1987, Francois left the band as a three-piece. This trio recorded Miriodor early 1988. They performed at the Festival International de Musique Actuelle de Victoriaville (6th edition) in fall 1988 and toured France and Belgium in March 1989


Recording Info
The title of this cd means Elastic Juggling

There are many changes here, since the hard-hitting 3rd Warning, which was created by a fiery aggressive trio it seems that during the recording of Jongleries elastiques that sax player Sabin Hudon left the band (as he’s credited as an extra musician) after the addition of guitarist and multi-instrumental talent Bernard Falaise. Also, there’s a range of guest musicians playing strings, brass, flute, etc., making for a much richer palette that’s less obviously a 90’s product. With 18 tracks in 62'14'', many of which are linked or segued, it amounts to Miriodor’s most varied yet, and is often almost dizzyingly unpredictable and complex.
From The Miriodor website

Prognosis Selected Discography
1985 - Rencontres 1986 - Miriodor 1992 - Third Warning
1996 - Jongleries elastiques 2001 - Mekano


Comments & Reviews:

MJBrady:
09/02/2002 If music can get anymore obnoxiously confounding than this, I'd love to hear it! This music is as technical as anything I have ever witnessed, and the instrument components involved make this as much a excercize in perplexity as anything I ever heard to date. When describing this band in mere adjectives, I am left feeling a bit inadequately versed in my attempts to explain just what it is I am hearing. Imagine if you will, the circus band has had a party, someone put LSD in the punch, Zappa and Stravinsky showed up in the spirit and composed some music for the band to play, and they were in rare form, someone had the presence of mind to record it, in high quality stereo, mixed to perfection, and ouila! Sorry if this metaphorical potrayal seems unrealistic, but this band plays music that seems surrealistic to me. In progresive rock circles they refer to this music as RIO, a fitting title for Rock In Opposition, and Miriodor certainly opposes the standard formats for most conveniently labeled music alright. They are a chamber orchestra gone mad, with a composer that has glimpsed into the future of musical theory, and adapted his visions to this contemporary ensemble. This music has many ingredients from the many cultures of progressive. Jazz, classical, world fusion, jazz/rock fusion, avant garde, circus music, horror movie soundtracks, etc. How Miriodor was able to draw from this odd combination of sorts I cannot answer, but I can tell you to be in a very attentive mood when trying this stuff, it is the Rubik's Cube of progressive music.

--------------------------------------------------------------------------------

Miriodor [Canada]
Updated 5/22/02
Discography
Rencontres (86)
Tot Ou Tard (88?)
Miriodor (88)
Third Warning (91)
Jongleries Elastiques (95)
Rencontres (98, re-issue on CD with bonus tracks)
Mekano (01)

Reviews
Miriodor combine equal parts jazz, progressive rock and chamber music into a powerful sound that may remind of better known artists like Univers Zero or Art Zoyd, full of fire and eclecticism, but a bit more heavy on the melodic end. From Montreal, Miriodor started out as a six piece in the early 80's - their first album Rencontres released independently in 1986 featured flute, clarinet, violins, saxes, bass, guitars, piano, synthesizer and drums, for a very full sound of intense depth, and to date stands as their best effort. A couple of years later, a second cassette-only release Tot Ou Tard was released, which showed evidence of the band's shrinking headcount, yet still offered an incredible level of originality and very advanced compositional ideas. By their third release Miriodor, the first for Cuneiform, they were down to a trio of saxes, piano and drums, with all three doing some work on synthesizers. As might be expected, the band took on a more lean sound, steeped in technology, while the compositions became less extended, more direct and to-the-point (note: the CD reissue of Miriodor contains about 1/2 of the Tot Ou Tard cassette-only release as bonus material). Their most recent release Third Warning from 1991 builds upon the previous release in the same general style.
If you can deal with the progressively RIO bent of the music, Miriodor would be an excellent addition to your collection. Someone described them to me as "Univers Zero in a good mood.." Lacking a better description, I'll reuse that one. If you like the instrumental complexity and power of UZ, coupled with that band's lack of any mainstream influence, chances are you'll find Third Warning to your taste. And even if you're a novice to the RIO sound and are looking for a place to start, Miriodor is probably the best place. They combine musical prowess and creativity with a certain amount of accessibility. While not lacking the dissonance of Henry Cow or Magma, they serve it up in smaller doses. A three piece, Miriodor consists of Pascal Globensky on piano, Sabin Hudon on Sax, and Remi Leclerc on percussion. All three double on synths. Leclerc drives home the UZ comparisons with his Denis-esque classically influenced percussives. The others weave intricate melodies and counterpoint. For a threesome their sound is remarkably full - lots going on. While no individual instrument is doing blistering solos, they will impress you with mature, complex writing. Like most of my favorite bands, the emphasis is on the writing rather than the playing. The result is a tightly composed 45 minutes of excellent progressive music. I highly recommend this new Canadian band to anyone with an ear for experimentation.
Jongleries is the third and IMHO best CD-release by the Canadian band. For Jongleries they incorporated a fourth member, Bernard Falaise on guitar, mandolin, percussion and bass (and synth of course). The overall sound of Miriodor did not change to much since Third Warning, but Falaise's guitar and bass are certainly a great and remarkable addition (finally there is a "real" bass). As there are also some more players featured on Jongleries (violin, cello, thrombone, trumpet and flute), moving the band in a more ensemble-like direction, one could say that Miriodor developed their concept with this recording to perfection. I like Third Warning, but Jongleries is so much better! Very dense and varied music, still somehow reminding of Univers Zero or other RIO bands, but very original and played with great perfection and an incredible dynamic. This more than 60 minutes of music are certainly one of the best efforts of "contemporary" progressive rock put out in the 9ties. Rencontres features recordings from 1984-86 with the original Miriodor band that had many more members (flute, clarinet, violins, saxes, bass, guitars, piano, synthesizer and drums). -- Achim Breiling