MIRIODOR

"Elements" is MIRIODOR's tenth studio album released in 2022 and voted as the tenth best album from that year by the collaborators here on this site. This band out of Quebec can do no wrong and the only record of theirs that I had trouble with was the self titled second release. I have to say that the debut "Recontres" is by far my favourite from them but different in style from the other albums.

"Elements" continues in that complex yet strangely melodic style they do so well. Some circus-like melodies and silliness so really this is MIRIODOR offering up angular and dissonant sounds and having fun at the same time. We do get some haunting and melancholic sections, lots of experimental pieces along with samples. Heck even a turntable at one point on that second track. It took me many looks but the cover art is basically a stove element with the different "elements" written across the cover in French like "oxygene" for example. Everything in the liner notes is in French by the way.

A trio here of keys and drums with the third member adding bass, banjo, guitar, keys and yes turntable. The drummer also adds electronics to great affect. Six songs over almost 43 minutes and this is very consistent with lots to like with every track and little that turned me off which isn't always the case with an Avant record. This band is just getting better in the style they do so well. "Signal 9", "Cobra Fakir" and "Avanti!" the previous three studio albums were amazing and this keeps the streak going. I can't even pick a top three that's how consistent this is.

Without question a top ten for me as well for 2022.

Still in the biz of constructing angular avant-prog of the ages after 40 years plus, the Quebec City proggers MIRIODOR may only exist in a very small club of weirdo music appreciators but this band remains remarkable in its consistency for delivering top notch music that was seemingly delivered from an alternative universe. While the band dates back to as far back as 1980, these Canadians are only now releasing their tenth album ELEMENTS in 2022.

Founded by François Émond and Pascal Globensky four decades ago, MIRIODOR has constructed some of the most daring and even-keeled instrumental jazz-tinged rock in opposition in the vein of Univers Zero, Art Zoyd and Present for quite some time now and even the death of Edmond hasn't stopped these instrumental wizards from cranking out their unique brand of bizarro prog that juggles unthinkable time signatures in the context of jazz and heavier guitar rock.

After five years since the release of "Signal 9," ELEMENTS pretty much picks up where the band left off and with the opening "Boomerang," fans of this crazed musical style will be delighted that MIRIODOR has lost none of its labyrinthine psycho prog mojo. Each of the six tracks on ELEMENTS exhibits all that MIRIODOR charm of nurturing avant-grooves into prog excess majesty aided by the virtues of modern technological breakthroughs. The result is perhaps not tantamount to a masterpiece but rather an excellent take on the traditions that emerged in the fertile minds from Belgium and France so many decades ago.

With the mishmash of stylistic changes over an angular jazz-rock groove, MIRIODOR presents another outstanding example of the avant-rock underground in superior form and although in the vein of the chamber rock masters of yore, these Canadians (now whittled down to a mere trio) deliver the avant-prog goods in magnificent splendor. While nothing new from what came before, it really is the consistency and uniqueness of the band that warrants a business as usual approach with all those parades of tones, timbres and time signatures gathering in procession for rich dynamic aural enjoyment.

Nerd prog for sure but for those who have caught this bug, ELEMENTS will not disappoint one tiny bit. If i had any complaint it would be the lack of guitar rock heft on this one as MIRIODOR are masters of delivering King Crimson inspired disso-prog in abundance. ELEMENTS tends to be on the mellower side of the band's mood settings and while that hardly detracts from the other talents that the band displays in full regalia, i personally love some avant-prog that rocks out a bit more than ELEMENTS but at the end of the day multiple listening experiences has allowed the album to sink in and therefore i have come to appreciate the album on its own terms.

Absolutely nothing that will break MIRIODOR into the mainstream, these Canadians remain faithful to the rock in opposition ethos but are highly admired in the small but rabid nerd music underground. Although ELEMENTS is now the mere trio of Pascal Globensky, Bernard Falaise and Rémi Leclerc, there are a sufficient number of crazy sounds on board to simulate a much larger band experience. All in all these avant-proggers are like punctuators of time where they craftily insert beats, notes and musical motifs that defy logic yet somehow synergize into a soundtrack of a parallel dimension.

Miriodor is a band relatively new to me that have just released their tenth studio album. Six songs with a total run time of approximately 42 minutes. What I hear on "Elements" is an engaging album with an eclectic blend of instrumental songs. Similar in style to previous efforts, Miriodor's joyful music leads the listener on a journey full of twists and surprises that grow on you. Clever writing and arranging makes sure there is never a dull moment to be found. The melodies these seasoned musicians come up with eventually will get stuck in your brain.

Recorded and mixed expertly, "Elements" rocks the bones and cheers the ears. 4.25 stars.

My comments on this one live album from the québécois most eminent representative of the RIO/experimental/Canterbury current in Prog, is not destined to add much to both the excellent reviews already there. Much more to emphasize the fact that they date from 2009 and 2012! Ten years without a word about a vital record... And further add that they come from the two most eminent members of this site, at least as number of reviews is implied. Wait! Both gave so much more than quantities to these pages. I've read the equivalent of a few books from you two, guys, and wish to thank you very much for all this work of passion. As for Miriodor, if you're new to them, this live captation should not be your first try. As most of their records imply a great variety of instruments and guests, to have them in a trio format is not truly representative. Yet, it shows the amazing musicianship because the sound is so full. Go read the reviews of my two heroes of the day, who've done their diligent work on any of them and many of them. Myself I like the first as much as the last...

Mrs Sean Trane and Mellotron Storm, this one is dedicated to you with much respect.

The self-released debut LP by Miriodor finds the band drawing from diverse prog subgenres. It's only natural that this includes the jazz-rock stylings of the likes of Maneige, since Miriodor also hail from Quebec, and there's also the humour of the likes of Samla Mammas Manna or the Muffins in play, as well as extensive influence from the likes of Egg, Hatfield and the North, and National Health - none of whom could exactly be described as dour.

The end result is a sort of Canterbury-ish RIO-y sort of jazz-rock mayhem, and one delivered with deft skill by the players. Putting out a debut album with this sort of sound in 1986 was a risky prospect, but such is the quality of the material that if you sent it back to 1976 it could have gone toe-to-toe with any of the group's influences.

4.5 stars. An absolute gem this one is. First of all the band dedicated this album to multi-instrumentalist Francois Emond who passed away this past year and was one of the founding members. His work on their debut was so impressive and that happens to be my favourite album by them. I think the most impressive thing about MIRIODOR's new album is just how many twists and turns we get pretty much with each song. And it's not that this is turn on a dime insanity at all, it's the way they introduce completely new themes then repeat them sometimes. Every song has something that I really like about it. Now I'm not into circus melodies at all or this might be a 5 star album, not that there's a lot of them.

"Venin" opens with spacey synths before a rhythm kicks in that's a little off-kilter(haha). Organ too then we get a calm before it kicks back in in a deranged and powerful way. Love that dark sound too and check out that bass before 2 minutes. Nasty! A lighter and complex section takes over before 2 1/2 minutes then it turns silly(circus melody). Love the melancholy that follows before 3 minutes. So good! Guitar to the fore with percussion 3 1/2 minutes in.

"Peintore Dans Le Coin" opens with intricate sounds that pulse, beat etc. It settles into a heavy groove with piano over top then the guitar replaces the piano. I do like the angular guitar. Electric piano and a determined rhythm after 1 1/2 minutes. Nice. A feel good section for me. The flavour keeps changing though as we get a heavier sound after 3 1/2 minutes. More angular guitar after 4 minutes. "Transit De Nuit A Jakarta" opens with the sounds of a horn from a train then a heavy groove kicks in with experimental sounds in tow including mellotron-like sounds. Such a cool section that goes on and on to the end.

"Portrait-Robot" is one of my favourites. This has a catchy beat with synths over top before it turns more powerful with angular guitar, organ and more. It becomes avant briefly then heavy before 2 minutes. Insanity! A dark and creepy calm follows(so good!) but when the heaviness returns it's sounds so much like KING CRIMSON with the mellotron and very heavy sound. Incredible! Suddenly a circus melody arrives out of nowhere after 4 1/2 minutes but it's brief as a completely different sound takes over of upbeat beats and guitar. Circus stuff. Then it calms right down before 7 minutes to a haunting ending.

"Deboires A Munich" opens with what sounds like a picked stringed instrument as the music builds to an uptempo pace with drums and guitar leading the way. Some faint vocal sounds and keyboards too. Really cool. "Chapelle Lunaire" is a favourite and it has this repetitive beat in a dark and industrial soundscape to begin with(headphone music) before turning light with a beat, bass and keyboards. An experimental calm takes over before 2 1/2 minutes, organ too. It doesn't kick back in until around 3 minutes but it's faster paced. Some crazy synths and humerous sounds. A dark mood arrives before 4 1/2 minutes then it's like they jam. So good! Beats only end it.

"Cryogenie" is a short experimental piece that works good with headphones. So interesting as these sounds come and go in a dark atmosphere. The organ before a minute is avant as it builds. "Passage Secret" opens with laid back keyboards and electronics as it starts to build and become even more experimental. Suddenly after a minute the drums, guitar, bass and full sound kicks in. So good! A light calm takes over after 2 minutes that lasts until before 4 1/2 minutes when strummed guitar, a beat and synths take over. It then kicks into a more energetic sound a minute later. Great sounding bass here. A change 6 minutes in as we get a catchy beat with liquid keys and atmosphere. Great sound! Organ too then we get a more determined sound with electronics and drums after 8 minutes, spacey synths too. So innovative.

"Gallinule D'amerique" is a short uptempo and experimental track with electronics and a circus vibe. The organ pulses with electronics and a beat before a minute. "Douze Petities Asperges" is also fairly short at over 2 1/2 minutes. This is mellow with bass, a beat and vibes? Electric piano takes over at 1 1/2 minutes as it turns darker.

"Le Ventriloque Et Le Perrouquet" is the over 8 minute closer. A powerful atmosphere like thunder really as abrasive sounds come in briefly. A circus-like melody follows. It's experimental before 1 1/2 minutes. Pretty cool then a beautiful section follows. The cymbals and atmosphere sound gorgeous. That circus melody is back as it comes and goes. Deep sampled vocals 3 minutes in seem to growl in atmosphere with bass. The vocals stop before 4 minutes but they return briefly with piano before 4 1/2 minutes. A great sounding section follows with guitar over top. Relaxed is the word as those vocals return briefly once again. Some intense guitar then that circus melody returns after 5 1/2 minutes. Love the spacey atmosphere though. There's those deep vocals again after 7 minutes as this continues to the end.

There's so much about this album that blows me away but that's off-set by some sections that aren't my thing but those are usually brief. So close to 5 stars regardless. One of the best from 2017.

Much Quirk, Less Musical.

The most recent album by Miriodor, Signal 9, ramps up the quirk factor, but in the process loses some of the musicality that made albums like Avanti so good. There are more stops and starts, and the transitions often seem too quick, not fully thought out. Simply put, the music flows less well on this album. This is not to say that there isn't some great music here - there is. The opening track, Venin, provides a good start, and the high quirk level (or, as some reviewers call it, 'staccato' approach) on the second track ('Peinture Dans Le Coin') to a large extent constitutes its charm and musicality. But not all the tunes are so compelling, and this is generally not an album one will want to listen to all the way through very often. A lot of the tunes are shorter and less developed, snippets really, and so have less musical heft, and the contrast between tracks can be jarring. In general, in addition to the first two tracks, I like the longer ones here. 'Portrait-robot' (in English "Identikit", or reconstructed portrait) is the best track - starts off really heavy and crunchy, turns dark and quieter in the middle, then becomes very melodic with a baroque-like bass pattern through to its ending. That one is very musical. The last two minutes of 'Chapelle Lunaire' are also great, very musical, but the first four minutes that one must wade through to get there leave me flat. 'Secret Passage' contains some great parts too (wonderful last 3.5 minutes!), but again, not the whole thing, and some parts simply drag. The long closing track, 'Le Ventriloque Et Le Perroquet' (The Ventriloquist and the Parrot) is up there among the better tunes here too, fairly inventive with strange vocal effects and patterns, some nice minor-key fairground chord progressions, and some great dissonant interlocking guitar lines, although I find the telephone ring that accompanies the main quirky theme annoying. Indeed, many parts of this album seem intended to grate for the purpose of waking you up, or something. This would be fine if there were a good reasons to be so woken, but I find there are not enough musical sections to justify the non-musical parts. So, a mixed bag with some good music, but I would recommend other Miriodor albums before this one. I give this 6.9 out of 10 on my 10-point scale, which translates to (mid) 3 PA stars.

Excellent! One of Miriodor's best, most musical, albums.

Avanti, for me, is the album on which Miriodor shine brightest. Their quirky, complex and sometimes atonal music can seem cold and calculated, and on some other albums it leaves me a bit cold, but on Avanti it is put in the service of creating great compelling music. On this album, every track is special, the music flows really well, and I am always drawn to listen to the whole album all the way through - I can't turn it off actually. Miriodor have added guest horn players on this album too, and there are more solos on this one than most Miriodor albums, giving this album a lot more soul and warmth (even when the music is meant to be intentionally cold). The music shifts effortlessly between riff-based themes, to math-rock interlocking electric guitar patterns, fair-ground atmospheres, some really difficult time signature-based lines, and dark distortion-drenched sonic landscapes. While the album gets off to a great start with 'Envoutement' (bewitchment), the quality of the music here remains remarkably constant (high) throughout. Also, on this album, the melodies are a lot more memorable than on many other Miriodor pieces. The horn lines on the second track (Bolide Debile, or Dare Devil) for instance, are highly memorable while adding some jazzy guts to the album (as does the guest trumpet solo on this track). The fourth track ('Ecart-Type', or Standard Deviation) combines a funk shuffle beat with a punk ethos, math-rock interlocking guitar-key lines, and popcorn-like electric guitar melody that sticks in the head. Very musical. 'A determiner' (to be determined) builds quietly to great seemingly out-of-time jazz-cantebury jam before breaking into quirky electronic funk six minutes in with an excellent guest sax solo. The last two tracks (the title track, Avanti!, and Reveille-Matin, or Alarm Clock) provide some great dark atmospheric moments, with distorted guitars, quirky RIO-like runs, and Crimson-like building chord progressions. All in all a very musical and original album. This is the Miriodor album I would recommend picking up first. I give it 8.7 out of 10 on my 10-point scale. An excellent addition to any collection.

Quirky and inventive, but a bit cold.

Miriodor are currently from Montreal (Canada), and perform a quirky and complex form of instrumental music. Despite their beginnings and the label attached to them here, I actually think they belong more in the 'eclectic' category than RIO or avant. While they occasionally use atonality and avant styles, their music more often involves complex lines and runs over top of fairly consistent and even normal drum beats (much more like an instrumental Gentle Giant than, say, Henry Cow). Cobra Fakir from 2013 is their second-most recent album. Not as good as the predecessor (Avanti), but better than their most recent album (Signal 9), it is a mixed bag, but contains some great music. My favourites are the title track ('Cobra Fakir'), 'Titan' (the most RIO/avant track here), and 'Speed Dating sur Mars' (the latter has a definite GG feel to it). If only the whole album had been this musical. None of the tracks here are off-putting, mind you, but many of the remaining tracks are not overly musical either. In general, the first half of the album is better than the second half, and some might find it a bit tiring to listen to all the way through. The one thing I would like to see more in Miriodor are solos - they really like to practice the tough coordinated or counter-point lines, but they don't really like to solo. There are only a few solos here, mostly short electric guitar solos. They could also explore more their jazzy-side - much of this music would lend itself well to jazz fusion, but the band seems intent on steering their music away from jazz. This is fine, but it means the music ends up feeling a bit cold. Solos would warm it up, add some soul. So, one the whole, some difficult complex quirky music - worth checking out - but could have been even better. I give this album 7.3 out of 10 on my 10-point scale, which translates to 3 PA stars.

So the Canadians are back with their ninth studio album, and a slight change in line-up as they move back to a quartet, but as all of the guys play multiple instruments anyway there isn't a noticeable difference in that area. As with the excellent 'Cobra Fakir', the first word that springs to mind is 'staccato', as this is music that is rapidly moving around and for the most part doesn't have time for long held-down chords but just wants to get on with it. Coming from a RIO/Avant background, they have been listening to some of the early Canterbury bands as well as to King Crimson and Art Zoyd to create something that is always interesting and complex, and just a little different to much that is available within the prog scene, let alone mainstream.

It is the type of album that will polarise opinions, as those who like it will enjoy it a great deal, while others will fall into the 'what on earth are you listening to' camp, and won't give this album the time it both needs and deserves to get the most out of it. This is complex, with lots of melodies and counter-melodies, with Bernard Falaise often crunching the guitar against myriad keyboard sounds, but that can all change in an instant. It is music that does demand respect and attention, and those prepared to do just that will get a great deal out of this, as it is incredibly rewarding.