I am broken and remade i am broken... by désormais (intr007)

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After having heard a lot of/about Mitchell Akiyama (trough his magnificent raster-noton and Alien8 releases), I have only discovered his music in a quite recent live performance in Italy (one of the highlights of a very good festival). On that occasion, I got introduced to his duo project Désormais (a pairing with Cincinnati-based artist Tony Boggs) by receiving this cd. I couldn't avoid being pleasantly struck by the packaging and design of this intr_version (Mitchell Akiyama's own Montreal-based label) release. Every single detail had been given proper and deserved attention: nicely handwritten front carton sleeve, knitted border and gentle colour scheme was all the merit of a fine arts student obsessed with perfection. And indeed, it was all a promising introduction to what was soon to become one my favourite albums of 2003.

The opening track 'from now on' grabbs instantly ones attention by justifying what the artists mean by 'assembly and destruction'. In such a subtle manner, guitar and piano based melodies arise straightway from the ether before being smoothly distorted by an incoming processed viola drone. The assembly takes place in that exact moment of time where one does no longer realise the multitude of sounds merging together. And then silence...with Mitchell's little crackles which have an affinity with other young guitar-driven electronic artists such as Sebastien Roux (12K, Apestaartje, n-rec), Aero (Apestaartje), Ralph Steinbruchel (Domizil), Sogar, to cite only a few. In 'no mysteries can be tolerated', a closer link with the [Canadian label] Constellation-related sound is felt through the participation of Eric Craven (Hanged Up). The further the song moves forward, the more wonderfully chaotic it all becomes before suddenly stopping to rapidly reveal the next track with Jenna Robertson on (re)-processed vocals. The guitar is ever more present here and although it has only reached the third track, I am already overwhelmed by the quantity of overlaying charming sound structures.

The two young artists even find a moment to embark themselves on an alt-country journey with banjo simulated melodies before reaching the most profound and sentimental part of the album where they flirt with the most enchanting boundaries of electronic-based music. 'Under a watching sky' has in fact the important input of [another one of the great Constellation label] Silver Mt Zion's Rebecca Foon. Her viola and Mitchell's guitar blend harmoniously into the scenery whilst Tony's distorted entries make it a distinctive sound on its own (although similarities with Fennesz are present).

The title track sees again Eric Craven's in energetic form and the three musicians let themselves go (a bit abruptly injected halfway through the song) in a freeform where the influences of Godspeed you! Black emperor are only clear and rightly put forward.
Having finally reached the end of the album, the closing interlude is simply a marvellous track which has been intelligently placed as the last song. Craven restricts himself to discreet cymbals while Tony and Mitchell quietly de-construct their entire work into this beautiful ending ceremony.

Quite a discovery...the kind of music you know you will want and need to have more of and learn much more about. A strong and mature approach to electronics by two artists who will surely have much more to say in the very near future. A pure delight.