Blog // Archive // By Date // 2014 // November

24 November 2014
blogue@anniversaire
24 November 2014
blogue@evenement
20 November 2014

Today on electro:thèque, hear a full album stream of Titakti by Philippe Le Goff.

blogue@theque
12 November 2014
By François Couture in Monsieur Délire (Québec), November 12, 2014

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“… the kind of record that will always give you something more.”

[Translation] Who has the biggest sound? Paul Dolden, of course. Who could forget the dense, far-reaching, implacable sonic environments of L’ivresse de la vitesse and Délires de plaisirs? Dolden, after eight years of silence on record, is back with one of his strangest, deepest, most off-kilter works to date. This CD features two works. Who Has the Biggest Sound is a 15-movement, 52-minute opus where minute details pile up (and up, and up) to form… high-speed musical chases… dysfunctional country songs and tangos… and choirs of human, mammal, and insect voices. A master of ceremony steps in at times to try to put some order in the proceedings - comic relief that works well at times (More Unanswered Questions) but falls flat elsewhere. It’s the only weak link in an otherwise astounding work. And spoiler alert: it’s nature who has the biggest sound, the nicest melodies, and who plays the fastest. By a long shot. The second work on this CD is The Un-tempered Orchestra, a highly entertaining ride through non-Bach-approved tuning (and detuning) systems that can’t fail to evoke Harry Partch - if he’d ever had access to a 100+ ensemble. Dolden’s work - like Noah Creshevsky’s or MC Maguire’s - is so rich in layers that a single listen won’t reveal everything. Actually, this is the kind of record that will always give you something more. Strongly recommended.

blogue@press-5206 press@5206
11 November 2014
By Alain Brunet in La Presse+ (Québec), November 11, 2014

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Robert Normandeau se surpasse.”

Dans La part des anges, des chants humains s’élèvent au-dessus d’un champ sonore de cultures mixtes et produisent une formidable immersion. Kuppel fut créée à partir de prises de son extérieures dans une vile d’Allemagne: carillon d’une place publique, grincement d’une porte ou roulis de tramways constituent une œuvre plus typique de l’électroacoustique «d’autrefois». Inspirée par le pièce Blasted de Sarah Kane, Pluies noires met en scène des vibrations émanant de souffles puissants, construisant ainsi un immense poumon d’où émanent moult fréquences hétéroclites. Hamlet-Machine without Actors est un maelstrom dont l’objet est d’évoquer «l’oppression de l’homme par la société». Baobabs est fondée sur l’utilisation exclusive de la voix humaine et intègre les percussions de l’ensemble Sixtrum. Cinq œuvres distinctes, cinq dômes sous lesquels le compositeur Robert Normandeau se surpasse.

blogue@press-5207 press@5207