Cham-Pang - Tant Pis 81-82
Check it out:http://tenzier.org/en/tnzr055-cham-pang
This artistic change led to the addition of several new members, including drummer Angel Calvo from Rational Youth and Vex, and musique actuelle reedist Robert Marcel Lepage.This new collective would work on a recording session leading up to a final mythical multimedia concert at the Cégep du Vieux-Montréal’s Tritorium in April 1982 and a possible future full length.
Despite some local buzz around the performance and the fact that Ne mourrez pas was well received (play time on the radio and in clubs, review in Billboard Magazine…), the group would ultimately disband making the album project fall into oblivion.
Thirty five years later, thanks to Tenzier and Gagnon’s editing skills, we get the unexpected pleasure to hear that first album now appropriately named Tant Pis 81-82.
It is clear from the opening track, that we are dealing with something much more darker than the Ne mourrez pas EP. If some level of New-Wave sensibility can still be perceived through the catchy synth lines, the fact that these lines are delivered along with dark spoken words performances, crazy saxophone skronk, lo-fi circular rhythm and noisy electronics make industrial pioneer Throbbing Gristle or experimental weirdos The Legendary Pink Dots better points of reference than any Rational Youth record.
Through Gagnon’s collage chops and brilliant manipulations (I would warmly recommend looking up Gagnon’s own Tenzier solo release for additional credentials), the hit single potential of Come Se Dice gets crushed by a raw compressed production, and the inherent funkiness of Oriental Intrigue has to compete with a bunch of Space Invaders discovering the existence of the alto Saxophone. Even Champagne’s voice gets some ingenious creepy, and yet weirdly sensual, harmonizer trafficking. Despite their edginess, these tracks are still wise selections for any dance floor.
Beside these potential hip DJ classics, a track like It may be acid rain, my love with its multiple vintage electronic effects and concrete music influences would not feel out of place on a Luc Ferrari’s record, while the surrealistic kitschy charm of Presqu’heureuse foreshadows the work of Montreal’s mavericks Les Georges Leningrad.
Namedropping aside, the discovery of Champ-Pang’s Tant Pis 81-82 is something worth celebrating and will make for a great addition to any weird music library.