Those who are only familiar with the recent three-piece version of Miriodor may be unaware that the band began in Quebec City in the early eighties as a full six-piece, a perfect marriage between the more chamber-oriented sound of bands like Univers Zero and (later) Henry Cow, and the more symphonic woodwind-oriented sound of bands like Happy The Man and VDGG. Rencontres is a most welcome reissue of their very first LP, long out of print and unfortunately so, because until their most recent Jongleries Élastiques this one was hands down their best effort. Added for good measure are four tracks from the band's 1986 cassette-only release Tôt ou Tard (a four-piece by that time, the other five tracks ended up on the reissue of the band's self-titled album from `88). In these early days the band featured flute, clarinet and violin, as well as the saxes that survived to the three-piece incarnation, two keyboardists (covering electric piano, synthesizers and organ), a full time guitarist/bassist/stick player, and of course drums, all of which made possible some very lush and organic arrangements within their very angular chamber rock style. The liberal use of dissonance and (what seems to be) improvisation offer a solid connection to the RIO school, while the lengthy multi-sectional tracks, strong melodies, the rich and varied arrangements, and the occasional touch of bombast have more in common with symphonic rock and the Canterbury school. The result is positively unique. Also unheard of on any other Miriodor release, this one features vocals, albeit only on two tracks La Maison-Dieu and grégore (surprisingly with English lyrics, given their French titles). In all, the Miriodor of 1984 was a meeting ground of many of the best elements progressive rock has to offer. Indeed, Rencontres is a most welcome reissue.