Reviews

Scary, droning noisedeath that's every bit as rude as the cover indicates (bonus points for all the dead bodies in the artwork). I know absolutely nothing about the band (probably actually one alienated dude doing unholy things with pedals and tapes in his basement, I'm sure), but I seem to remember earlier releases being way more in the vein of harsh noise, whereas this is somewhere in the middle of a sonic triangle with noise, industrial, and drone at the points. (It's interesting to note that on earlier releases they've covered Burzum's "Dungeons of Darkness", kind of an unusual move for a noise band.) In some ways the sound and presentation here remind me of Brighter Death Now, but mostly it's an excuse to latch onto sick, sick sounds and repeat them over and over while adding layers of high-pitched feedback, morose pounding, the occasional anguished wail in the background, and other ugly attempts at ruining your hearing.
"La chambre a gaz" is particularly excruciating, crawling along for over ten minutes and built on a corrosive loop over which everything gets incrementally more toxic. "Syndrome gravitationnel" is more like the early stuff, just a face full of blinding white noise and crashing about, along with a few of the later pieces ("Desertique" is particularly pleasing in its wholesale obnoxiousness), and "Les dernieres minutes" is built around what sounds like a deliberately truncated sample of heavy breathing (well, maybe) and flucuating waves of feedback; "Ergonomie" is similar, while the title track is a return to cut-up screaming junk noise.
All of it, frankly, is disturbed and dark and repulsive and more than a little bit unwholesome, just the way a good noise album should be. So painfully grotesque that you'll be tempted to hurl in your fez -- and then you'll have to come back for more, since that diabolical noise is just so tasty....
Taken from The One True Dead Angel #5

The final release is by Ames Sanglantes, aka Pierre-Marc Tremblay, whoever that may be. That is pretty recent release, but the recordings are from 1999. His release can be described as a catalogue of noise possibilities. Ames Sanglantes plays all sort of noise, ranging from rhythmic excursions along the lines Esplendor Geomtrico in 'Les Dernieres Minutes' to several tracks in which the pure noise distortion feedback walls in which the hand of God, that is Merzbow, is never far away and all sorts of variations in between, with various degredations of what is present: the rhythm or the noise. Some tracks are a bit Masonna/Endo-like when the voice is used. One could say that Ames Sanglantes doesn't know which way to go, but I prefer to look at things in a different way: there is enough variation throughout this disc, to keep things interesting for the full eleven tracks, say almost an hour.
Taken from Vital Weekly

I knew this would be good. First, because the man behind this project is in Akitsa. Second, because it's from Cipher Productions, a Tasmanian label that simply doesn't compromise, releasing album after album of good material. Harsh noise without the shadow of a doubt, Ames Sanglantes play unstoppable noise, although some tracks are quieter.
Tracks like 'Le Pendu Est Mort' make the whole thing worth listening more than 10 times. This is the type of noise that really freaks me out. It sounds like human torture. When the high-pitched, everchanging noise isn't there, it's just a big messy and abrasive mess (tracks like 'Désertique', Réalité...'). There's also quieter but unpredictable noise such as 'Les Dernieres Minutes', reminiscent of Sunshine California's work on 'Your Bleu Teeth'. I really felt like I was about to go in the shower and die. Although this is very interesting, the most interesting tracks are the high-pitched changing ones I mentioned earlier (Le Cri du Pendu...). This stuff sort of reminds me of Knurl, and that, coming from me, is a huge compliment. Get this cd now. You won't regret it. Another excellent offering from Cipher Productions.
Taken from Noise Reviews

Ames Sanglantes is a name I haven’t heard in awhile and not surprisingly this material is dated 1999. I wonder if it is a re-release because I have no idea. Either way what you get here is some gritty old school industrial tracks and some strait up harsh noise tracks that together form one hell of noisy beast.
The production is easily the worst facet of this release but it’s not that bad because it really matches with the quality of the sounds which all appear to have been culled from lo-fi instruments ranging from what I would guess would be guitar pedals, feedback loops, and contact mics.
The first half of the CD presents some pounding repeating industrial tracks that I tend to enjoy more then the cut-up harsh noise because they have an old-school vibe that you don’t hear too often these days. “Chants Du Desespoir” features a sustained high-pitched feedback tone (Ames Sanglantes likes this sound a lot) with low delayed and distorted chanting, a short track but a good introduction. “La Chambre A Gaz” is one of the my favorite tracks here because it features no-holds-barred heavy industrial blasts of distortion with feedback whipping out in between them. This is pure repetition that continues for about 10 minutes with no changes, but the noise is varied enough to keep me interested and the sounds are just crusty distorted scrap metal sounds that work so well.
The harsh noise starts with “Le Pendu Est Mort” which could almost be some sort of Masonna track with what sounds like crazy delayed vocal sounds. This gives in to more straight up harsh noise in “Desertique” which has some great pulsating feedback tones. The harsh noise is fast cut-up noise with a lot things happening, the reason why I think it would have been a lot more effective if it was better produced. It’s great material but doesn’t hit very hard because you probably not hearing much higher then 10khz here, the recording is so muffled. It is a good kind of lo-fi though, and is listenable as well as somewhat nostalgic.
I’m not sure if this is a sign that Ames Sanglantes is back on the scene or not but taking into consideration this material is from ’99 I think it is still as fresh as if it was released today, some of the acts around now could learn a lot from this release.
Taken from Blood Ties

i can't think of too many people that are as versatile as pierre-marc tremblay. He's got the musical equivalent of the midas touch. punk, no problem. metal, sure why not. noise, piece of cake. dom, of prurient/football rabbit/vegas martyrs, is pretty diverse too, but i wouldn't say that his rock and noise talents are as evenly matched as pierre's. oh, and i almost forget about kites' christopher forgues. for a guy who can throw down some serious harshness, his way with psychedelic pop (that's all i can think to call it) is really impressive.
for le cri..., put out on the terrific australian-based noise label cipher productions (ran by chris groves aka chrysalis), âmes sanglantes is taking a more experimental approach on noise. i can see some comparisons being drawn between him and roxanne jean polise's noisier moments. there's a real nice balance between calm and calamity here. while there's a little bit of peace to be had in these ten tracks, there's nary a dull moment. my favorite tracks on here are the noisier pieces such as the fourteen minute realite invention humaine, the only one to really use the left and right channels differently. the right speaker is used more for drones and repetitious electronic sounds, while the other is more harsh. though, during the track's play the right side does break into some noise as well. that'd be my pick for the best track on here. the other lengthy (ten and a half minutes) piece on here, la chambre a gaz, is one of the slower pieces, and one of the better ones in that regard. it doesn't change up very much but relies mainly on some repetitious feedback (used more as a complimentary musical component rather than anything abrasive) and other repeating noises. it has a nice, if subtle, rhythm to it, which most of the less harsh tracks seem to have. if not outright rhythm, atleast there's some repetitious aspects that you can find yourself getting into.
Taken from Smooth Assailing

New work for les Ames Sanglantes of Monsieur Tremblay, active with the black metallers Akitsa, too. This album was created and recorded in 1999 but only after 7 years it sees the light on digital support. Noise, in its purest essence. Claustrophobic, pressing, schizophrenic, with a persisting sense of disease. The longe "Chambre A Gas" leaves us without forces with its resounding death industrial, "Désertique" spits out its high pitched epileptic noise with feedbacks, "La Chambre Psychedélique" is characterized by frenzied metallic percussions, the following "Réalité" is a long track of industrial noise with many tone variations, "Les Derniers Minutes" is hypnotic in its old school industrial mechanical gait. A lo-fi sound, which is not a fault, but a basic feature of an album with good idea, not necessarily successful.
Taken from Exoteric #4