During the White Noise Ensemble's ten-minute 'œGalileo/La Chute de Corps dans le Vide'? ('œThe Fall of Bodies in a Vacuum'?), the tempo slides from a languid slow-motion to a quick-paced jig, while a sample intones 'œWell, in my left hand, I have a feather; in my right hand, a hammer and I'll drop the two of '˜em here, and hopefully they'll hit the ground at the same time... How '˜bout that?'? This academic wit and whimsy is all over their debut, 'œJ'ai Vu Le Long Des Routes Desolees Des Carcasses De Chameaux Blanchir'?. The four-piece (three musicians, plus a filmmaker who creates visuals for live performances) write instrumental music that's energetic without being poppy, expressive without being cheesy, and amazingly versatile for a half-hour recording. That, and a classy hand-made CD case, made critics rave. Allana Mayer tried to find out why their pictures are worth more than words.

Would you mind introducing yourselves? Who plays what?

Simon: guitars, electronics, banjo, melodica.
Martin: drums, sampling, live processing, vocals, harmonica, melodica.
Sly: bass, percussions.
Veronique: video, visual art, glockenspiel, vocals.

How long have the four of you been working together? How did you all meet?

Martin and Simon played music together for about ten years, going through different styles of music (from punk-rock to free jazz and experimental music). It's probably the blending of all these experiences that brought us here today, but fundamentally, we are just buddies who decided to share something together, something we believed in.

You sound nothing like white noise. Why the misleading name?

First, the band was an improv-duet: Simon on the guitar and Martin on drums. We were more experimental and near the white noise concept in our way improvising music. Now we still believe in the idea that all frequencies, all possibilities can coexist in our composition. We are not really into the style thing, and we just want to be open to a lot of music and influences, a kind of 'œmelting pot'? that can be interpreted as white noise.

A lot of electronic-based bands (like the Books, Freeworm, Les Angles Morts) have corresponding visuals with their live performances. Why did you guys choose to make the visual art such a big part of the band?

Good question! It's probably an instrumental factor, mixed with specific topics we wanted to discuss. So we let the process settle down and finally found that specific way of working. In fact, the music will always be our first concern. Actually, the only reference for people who can't see us live is our music recorded on a CD. So let's say that the photography work in the CD packaging, coming mostly from video parts, is a reminder of the mood we want to offer in our live performances.

Actually, Freeworm and Les Angles Morts are both from Quebec. Is it a French-Canadian thing? Are you trying to compensate for us anglophones who can't understand you most of the time?

Does that mean that you don't understand what we're saying now?! Honestly, we don't really think about that, and we do not make music or video for specific kind of people or language. We are all francophone, yes, and we're proud of our French culture, but the thing is that images can be used to suggest ideas without forcing an opinion, probably in an easier way than words.

In another interview, you state that you think of the visuals as taking the place of a vocalist in the band. Does this mean you guys are boring to watch live? Why haven't you perfected any rock'n'roll stage moves?

No, we're not boring live... uh, I think! We just meant that we are using visual as a communication media. Video takes a lot of place in our live performances, but our energy on stage is the same with or without it! We'll practice our rock'n'roll moves just for you, baby!

What's the collaboration process like? Does Veronique help guide the music?

Until now, Veronique has been working on the visual after the music outline was composed. Basically, she keeps listening to the same song again and again, trying to find the meaning of it. She usually works with archived videos (different stuff, from her family tapes to free-use Internet documents), to reinforce the folk tendencies of the music.

Do the three musicians have input on the films and photography?

Even if it's mostly Veronique's work, everyone is free to give ideas and suggestions, and even objections!

Did you all sit down and design the CD packaging together?

Philippe, who is a bookbinder and also a friend, came with the main idea for the packaging, and Veronique designed the inside. With Phil, we spent a lot of time to make it happen (hands sticky with glue and everything). We all gave a lot of our time on that handmade packaging!

While we're on the topic of titles, is the album title (badly translated by Allana as 'œI saw bleached camels' corpses on the dusty road'?) some obscure film reference, or somebody's crazy nightmare?

It first comes from a quotation of the French author André Gide. But for us, it's the idea of the road, where you can be all alone with your thinking, but also with your rotten thoughts. It's also an 'œin-between'? that reminds the uninterrupted form of the album, a changing mood, 'œsome thoughts along the road..."

By Allana Mayer