Montreal born guitarist Ren? Lussier is one of the leading figures of the Quebec music scene, co-founder of the label Ambiances Magn?tiques, author of some sixty film scores, including Robert Lepage's Moulin ? Images, and over thirty records, including the Grand Prix Paul Gilson prizewinning Le Tr?sor de la langue. He was the initiator or core member of multiple ensembles, including Conventum and Les Quatre Guitaristes de l'Apocalypso Bar, and had long-lasting duo partnerships with Pierre St-Jacques, Jean Derome, Martin T?treault, Robert Marcel Lepage, as well as working in international ensembles and collaborations with Fred Frith (Keep the Dog, Fred Frith Guitar Quartet), Heiner Goebbels, Hans Reichel, Eugene Chadbourne, Bob Ostertag, Tom Cora, Iku? Mori, John Zorn, Cristof Anders, Otomo Yoshihide, Chris Cutler, Han Bennink and Zeena Parkins. Tresor de la Langue has to be one of one of the truly great projects of the last half-century and is therefore a very hard act to follow. But on this quietly revolutionary record Rene has found his way to a music that can fairly be described as new; new enough to make it hard to explain, even though it's easy enough to listen to. For the majority of the pieces here Rene has dispensed with obvious overall form and traditional compositional logic and replaced them with patterns of events; there's no ABC, no development, no thematic integration, instead we have a kind of experiential logic, a road you share with Rene that's poly-stylistic and unpredictable, stabilised with rhythms and harmonies when you need them and populated with sounds that exist autonomously and sometimes seem to belong in another story - but all bound tightly into something like what Stockhausen called moment form.. with space added. A range of recognised instruments are used, especially electric guitars, contrabass and Daxophone, as well as a host of non-instruments and invented instruments, combined to construct Webern-like orchestral distributions of sounds. Of the seven compositions featured, five probe deeply into the klangfarbenmelodie / event-nexus mode described above; of the other two, one is a tour de force for guitars, electric toothbrushes and snatches of conversation, the other (and the oldest here) a more conventional work for four contrabasses. These are all studio assemblies, meticulously crafted, that deploy their materials with a fine ear for timbre and stereophony. They are also surprisingly attractive and easy to listen to; part lounge, part C20 experimental, part je ne sais quoi.