Sloche -

Sloche was a Québécois symphonic-rock band that released the album J’un Oeil on RCA Victor in 1975, followed by the sophomoric Stadaconé on the label in 1976.

Members: Pierre Bouchard (keyboards), Jacques Collin (bass), Fernand Paré (drums), Marcel Périgny (guitar), Réjean Yacola (piano, vocals), Martin Murray (organ, synthesizer, saxophone, vocals), Caroll Bérard (guitar, vocals), Pierre Hébert (bass, vocals), Gilles Chiasson (drums), André Roberge (drums), Gilles Ouellet (percussion)

Background

Sloche formed in 1971 with a revolving lineup that included guitarist Marcel Périgny, a member of unrecorded psych rockers South Gate 24, a precursor to W.D. Fisher. They embraced symphonic- and jazz-rock with the arrival of keyboardist Réjean Yacola, a graduate of the Conservatoire de musique du Québec à Québec.

Around Yacola, Sloche coalesced as a quintet with guitarist Caroll Bérard, bassist Pierre Hébert, drummer Gilles Chiasson, and saxist–keyboardist Martin Murray. In early 1975, they linked with the French-Canadian branch of RCA Victor.

J’un Oeil

Sloche released their first album, J’un Oeil, in December 1975 on RCA Victor (Canada, France).

The album presents a fluid synthesis of jazz fusion, symphonic rock, and Canterbury-style interplay, marked by intricate ensemble passages and layered keyboard arrangements. Vocal parts appear intermittently, adding a choral quality to the band’s predominantly instrumental sound.

The quintet consisted of drummer–percussionist Gilles Chiasson, bassist–vocalist Pierre Hébert, guitarist–vocalist Caroll Bérard, and keyboardists Martin Murray (Hammond B-3, Mini Moog, Solina, Wurlitzer) and Réjean Yacola (Fender Rhodes, Wurlitzer, Clavinet, Celesta, Mini Moog). All five members contributed vocals and percussion.

Yacola wrote two of the album’s five pieces and co-wrote one with lyricist Claude Laurin. Hébert and Murray each composed one track, while Bérard wrote and sang one number. The lyrics alternate between abstract imagery and humorous, stream-of-consciousness fragments that match the ensemble’s shifts in tone and rhythm.

“C’pas Fin du Monde” opens with oscillating synth patterns before giving way to a funk-inflected progression with sharp rhythmic changes. “Le Karême d’Eros” begins with an extended classical piano passage that expands into jazz-rock interplay with alternating vocal and instrumental segments. The title track, “J’un Oeil,” is the most concise piece, built on a recurring rhythmic motif and multi-voice refrain. “Algébrique” moves through tempo breaks and angular rhythmic turns with organ and sax interjections. “Potage aux Herbes Douteuses” concludes the album with alternating funk, choral, and symphonic passages that showcase the band’s ensemble precision.

A1. “C’pas Fin du Monde” [It’s Not the End of the World] (8:55) — begins with ambient synthesizer sounds before shifting into a syncopated jazz-rock pattern with layered keyboard themes and vocal scatting.
A2. “Le Karême d’Eros” [The Lent of Eros] (10:52) — opens with solo acoustic piano; transitions into ensemble interplay with alternating instrumental and vocal sections; closes with funk-oriented motifs.

B1. “J’un Oeil” [One Eye] (4:44) — combines cyclical rhythmic phrasing with call-and-response vocals and interlaced guitar and organ lines.
B2. “Algébrique” [Algebraic] (6:32) — introduces complex, shifting time signatures and overlapping keyboard figures; includes a midsection of vocalized percussion syllables.
B3. “Potage aux Herbes Douteuses” [Soup of Doubtful Herbs] (7:10) — alternates bright funk passages with symphonic and vocal textures; ends with a reflective guitar-led coda.

Sessions took place in July and September 1975 at RCA Studio “B” in Montréal with production by Gaétan Desbiens and Sloche. Desbiens also engineered and co-mixed the album with the band.

The album cover features a conceptual design by Desbiens and photography by Grand Bardas.

J’un Oeil established Sloche as one of Québec’s leading jazz-rock ensembles, combining conservatory-level precision with a vivid sense of ensemble dynamics comparable to Return to Forever and Gentle Giant.

Stadaconé

Sloche released their second album, Stadaconé, in late 1976 on RCA Victor (Canada).

The album expands the ensemble’s jazz-fusion framework with funk, symphonic, and Canterbury influences, yielding a more cohesive and instrumental sound than their debut. The lineup features drummer–percussionist André Roberge, bassist Pierre Hébert, guitarist–vocalist Caroll Bérard, keyboardists Martin Murray (Hammond B-3, Solina, Mini Moog, soprano saxophone) and Réjean Yacola (Fender Rhodes, Wurlitzer, Mini Moog, grand piano, Clavinet), and percussionist–celesta player Gilles Ouellet.

Bérard, Hébert, Murray, Yacola, Roberge, and Pierre Bouchard each contributed to the album’s compositions, with Yacola and Bouchard co-writing the 10-minute opener “Stadaconé” and the closing epic “Isacaaron (Ou Le Démon des Choses Sexuelles).” Murray co-wrote “Le Cosmophile” with Bérard, who also wrote “Il Faut Sauver Barbara.” “Ad Hoc” was a full-group collaboration, while Hébert wrote “La ‘Baloune’ de Varenkurtel au Zythogala.”

The album opens with “Stadaconé,” a ten-minute suite built on shifting funk rhythms, clavinet accents, and alternating keyboard themes, interspersed with organ breaks and brief choral refrains. “Le Cosmophile” begins atmospherically with synthesizer textures before unfolding into a brisk jazz-fusion section with saxophone and Hammond interplay.

“Il Faut Sauver Barbara” moves between sharp rhythmic syncopations and serene keyboard passages, while “Ad Hoc” introduces wah guitar effects and dense Fender Rhodes layering over a brisk, pulsing rhythm. “La ‘Baloune’ de Varenkurtel au Zythogala” alternates serene keyboard and sax sections with soft jazz pacing. The closing “Isacaaron (Ou Le Démon des Choses Sexuelles)” develops through multiple tempo changes, featuring organ surges, piano interludes, and contrapuntal interplay reminiscent of Gentle Giant.

A1. “Stadaconé” (10:10)
A2. “Le Cosmophile” [The Cosmophile] (5:36)
A3. “Il Faut Sauver Barbara” [We Must Save Barbara] (4:13)

B1. “Ad Hoc” (4:30)
B2. “La ‘Baloune’ de Varenkurtel au Zythogala” [The ‘Balloon’ of Varenkurtel at the Zythogala] (4:55)
B3. “Isacaaron (Ou Le Démon des Choses Sexuelles)” [Isacaaron (Or the Demon of Sexual Things)] (11:18)

Sessions occurred in July 1976 at RCA Studio “B” in Montréal with Sloche and Gilles Ouellet producing, Gaétan Desbiens engineering, and mixing shared between Desbiens and Claude Allard.

Stadaconé features cover design by Publiphoto and photography by Paul Frenay.

The album title references the Iroquois village that once occupied the site of present-day Québec City. Stadaconé refined Sloche’s approach with extended compositions rooted in jazz-funk structure and symphonic detail, marking the band’s final studio work before disbanding.

Discography: