|Eric Lumbleau||03-November-2001||Vol. 33|
Despite little local fanfare or subsequent international acclaim, this Canadian tribe of musical pranksters was flying the same genre-fuck flag in the early 70s as more celebrated provocateurs like Faust or the ESP label's stable of misfits. In truth, more simpatico with France's Futura label roster of obscurantist anarchists (notably Red Noise and La Fille Qui Mousse), L'Infonie were similarly staking their claim to a nebulous no-mans-land of inverted expectations.
With organizational coherency a seemingly less than prized commodity in the L'Infonie compound (a situation I expect commensurate with their Owsley intake), their M.O. on their debut instead entailed launching themselves through a disparate succession of superficially conflicted trajectories. It's a piecemeal approach that undercuts their ability to fully achieve escape velocity, while still allowing for periodic feats of ass-backward aesthetic bravado.
L'Infonie occupy a destabilized terrain where temporarily erected walls of Globe Unity Orchestra-like massed free jazz cacophony are bulldozed in favor of soundtrack-ish allusions that vacillate between Roman empire epic processional pageantry and Russ Meyer skin flick grindhouse go-go kitsch and where electro-splattered garage psych rave-ups straight out of the Pierre Henry songbook run headlong into the collective chanting of peaking furry freaks. A head scratcher of the first order.
(Originally published in Alternative Press #157, p.90; reprinted by
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