Push The Triangle by Repush machina, D’Autres Cordes, 2007

Blog Chitarra e Dintorni

French trio Push The Triangle (alias Stephane Payen (saxophone), Franck Vigroux (guitar, guitar fretless and turntables) and Michel Blanc (drums)) is one of that groups that know how to stir in the avant-rock landscape, moving away from certain mannerisms connected to vicious virtuosities or to noise / industrial exhibitionisms whose frequencies don’t disturb or convince myself any more. In this cd, happy sequel of their “machina 1”, the trio develops in an European point of view intuitions elaborated by Zorn in the last twenty-five years, introducing further elements of reflection thanks to a marked experimental imprint and to a substantial contribution of electronics. The guitarist Franck Vigroux, producer of this session, is also a skilled manipulator of turntables, which guarantees the creation of dark and iterative electronic foundations. All elements of contrast with the convulsive sound and strangled sax played by Stéphane Payen and the rhythmic work by Michel Blanc, to which, in absence of a double bass, Vigroux handles to integrate with vigorous upsurges of electronic sounds. The collective character of the executions and the application of improvisation as form of extemporaneous composition are the dominant lines.
Within this recording prevails a poetic that could be defined in the compensation between the glut and the paroxysm, typical of the ’80 – ’90 year things by Zorn and another Italian trio, the Zu, goals (and an expressive halves), coupled with the serious fragmentation of the sononic texture, that reaches some almost hypnotic phases to lines, almost to deny the previously concepts expressed before.
This is surely an interesting record that confirms the intelligence of the creative path by Vigroux that has always been able to realize some intelligent jobs putting himself to service (he is a guitarist) of a personal sound and a language light years away from whatever lick, riff or style consolidated by the inheritance of the six strings, and it is the demonstration that also in a small and so essential ensemble to improvise means always to create new possibilities.