Brégent is keyboardist Michel-Georges Brégent out of Quebec. Brégent already released an album in 1973 called Poussière Des Regrets on RCA. That one has became very hard to find and I am not familiar with it, but I do know the album features his brother Jacques Brégent as well, so I'm guessing Brégent was really a project featuring Michel-Georges and his brother. Michel-Georges teamed up with percussionist/drummer Vincent Dionne and released two great albums on Capitol Records, ...Et le Troisième Jour (1976) and Deux (1977), both electronic but with a different approach, the debut beings more avant garde leaning, Deux being more in the symphonic prog territory with elements of fusion as well. By 1978 they parted way, and Michel-George reteamed with his brother Jacques and in 1979 released Partir Pour Alleurs on the CAM label, which is actually an Italian label that apparently specialized largely in soundtracks (similar to Cinevox), although it was clear by this time the label had operations outside of Italy, in the case of this album, being released in Canada, of course.Upon listening to this album, it's become very clear that the musicians hired are just simply amazing, with bassist Claude Chapleau, drummer Sylvian Coutu, and guitarist Jean-Guy Montpetit. Vincent Dionne actually appears on three cuts. If these guys didn't worship at the altar of Jaco Pastorius, Billy Cobham, and John McLaughlin respectively, I'll be very surprised indeed, these guys could have easily ended up in Mahavishnu-styled fusion groups. One song on this album, "L'intersection" only proves this, a truly mindlowing piece of Mahavishnu type of fusion with super fast drumming and guitar playing, you'd think that Billy Cobham and John McLaughlin decided to come to Quebec and play on this album, but they didn't. But actually this album is quite eclectic, so fusion is just one style explored. The album starts off pretty lame with "T'es Rock Coco". Not exactly a good attempt at blues and 50s style rock and roll, but the rest of the album is so much better it simply blows me away! Try "Mes Longs Voyage", a rather eerie piece of progressive rock with some spooky flute playing, some spacy synth passages, and mellow use of electric piano. "Les Mouillures" is a rather spooky piece with spooky organ and spoken dialog from Jacques Brégent (his spoken dialog is used all over the album, which makes this something different from Dionne-Brégent, where the only vocals came from a choir or female soprano soloist). "L'Intersection" is clearly in the mode of American fusion in the Mahavishnu Orchestra or Return to Forever vein (they just needed a violin and it could easily pass for Mahavishnu). "Qu'ont vu Tes Yeux" is an electronic piece with a medieval flair, with Vincent Dionne providing percussion, and the closing piece "Sur le Balcon" is a relaxed jazzy piece, which is similar to "La Folle Complainte" that closed side one.From listening to this you can tell this isn't Dionne-Brégent. For one Vincent Dionne is only present on three songs and doesn't go quite as hog wild on his percussion. So usually it's Sylvain Coutu providing the drumming. Spoken dialog from Jacques Brégent was totally absent of those Dionne-Brégent albums. The use of choir and Michel-Georges Brégents use of keyboards and synths are what's similar to Dionne-Brégent. I am surprised that Michel-Georges Brégent hadn't updated his keyboard gear as it's pretty much all the same keyboards he used on both Dionne-Brégent albums, and surprisingly no new polyphonic synths that were hitting the market at the time (such as the Prophet 5). So none of that early '80s synth sound like what was creeping in many recordings from 1979.I also noticed that much of this material was written in 1972, with one written in 1970 ("T'es Rock Coco") and 1977 ("Liberté"), so it's obvious this material had been floating around for a number of years, explaining why this album is often trippy and psychedelic in a manner I usually don't expect from recording dating from 1979. Although written years ago, this stuff did get recorded in 1979.Regardless, except for the opening cut this is truly a wonderful album worth hearing and owning. Certainly one of the most interesting album of 1979 I've heard.