Since the strange lo-fi experimentation of his former project Total Music, Alain Lefebvre has fortunately arrived at a more communally-engaged and often collaborative practice. The most important difference, though, is that this is now live music. Indeed, Objects and Electronics gathers five Montreal performances spanning 2011 to 2012. Each is a well-constructed, synaesthetic romp of uncanny aliveness and originality. This is 110% non-conformist music – continually experimental – full of raw thuds, crackles, hisses and screams, yet always successful in managing to draw the listener into its murky and moody depths. Lefebvre likes to capture objects as they break down, feed back onto themselves, malfunction, or just plain behave strangely. From a 115 volt aquarium pump to a sundry collection of disfunctional tape recorders, some of Lefebvre’s instrumentations sort of defy easy musical classification, hence the subtle irony of the title here. (One might not know where to sort him in the interstice between noise and electroacoustic improvisation.) His performative presence in live situations, and use of visual media like video, on the other hand, points to a definite rapport with Montreal’s underground experimental music community.
If you get the hard-copy of the album you receive one of 60 hand-stamped/coloured sleeves with a professionally burned and printed