[va]: Électro clips: track detail

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Électro clips

[va]: (25 composers)

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empreintes DIGITALes | IMED 9604 | 1996

Reissue from IMED 9004.

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1. Michel A Smith: Style de bougalou (1990) 3m02s imed_9604-1.1 | 14245 | ISRC CAD509612770

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

As in those games where one has to find the differences between two almost similar drawings, Style de bougalou (Bougalou-like) can be compared to traditional and popular music pieces, however…

This piece was realized at the studio Phlizz in Montréal in July, 1990. Thanks to Pascale Malaterre (sampled voice).

Michel A Smith [xi-90]

2. Craig Harris: Somewhere between (1990) 3m01s imed_9604-1.2 | 14256 | ISRC CAD509612780

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

Somewhere Between presents a collection of windows into different but connected sound worlds. In this composition, all sounds are derived from recorded piano sounds. The material is treated as if it were played on an instrument on which all imaginable attack sounds, harmonic activity, room resonance, and sound processing can be performed with the ease and subtle nuance that is available on a traditional piano.

Craig Harris [xi-90]

3. Jean-François Denis: Point-virgule (1990) 3m00s imed_9604-1.3 | 14263 | ISRC CAD509612790

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

The sound material was sculpted by sampling (thanks to Philippe Moënne-Loccoz) and then tamed and articulated on the keyboard in the studio. Point-virgule (Semicolon) is developed through five approaches, enunciated one after the other, and concludes with an exclamation point.

Jean-François Denis [xi-90]

Point-virgule was realized in July, 1990 at the studio of Collectif & Cie (Annecy, France) with the collaboration of Bernard Donzel-Gargand with the assistance of the Canada Council for the Arts and of the French Government.

4. John Oswald: Bell Speeds (1983, 90) 3m00s imed_9604-1.4 | 14264 | ISRC CAD509612800

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

Bell Speeds: the pealing of a bell the size of a pea, heard in eight octaves.

John Oswald [xi-90]

5. Yves Daoust: Mi bémol (1990) 2m59s imed_9604-1.5 | 14265 | ISRC CAD509612810

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

Around a small tonal object (E flat, Mi bémol in French) developed into a drone used as a thread in this piece, I have brought together some of my ‘fetish’ sounds. A stereotypical form emerged, a hyper-condensation of my style, of my articulation and construction processes: confrontation of widely different sound elements, a preference for the anecdotal, the crossfading of textures, oscillation between the musical discourse and the documentary approach. Mixtures of levels, polyphony of sounds and of meanings. A pastiche where I attempt to imitate myself…

Yves Daoust [xi-90]

6. Claude Schryer: Les oiseaux de Bullion (1990) 3m02s imed_9604-1.6 | 14266 | ISRC CAD509612820

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

Les oiseaux de Bullion (de Bullion’s Birds) is an ecological sound diptych inspired by the concept of sound pollution and the rediscovery of a quality of “clear listening” proposed by the World Soundscape Project. In this clip, I have resisted ‘processing’ the material aside from the equalization, editing and mixing of natural sounds. I have explored the ‘sonic imprint’ of my immediate living environment: ‘songs’ from finches-in-a-cage accompanied by trucks from Waldman fish store in Montréal and a ‘song’ from a train reverberating in the Bow Valley in Banff National Park (Alberta).

Claude Schryer [xi-90]

7. Martin Gotfrit: The Machine’s Four Humours (1990) 3m00s imed_9604-1.7 | 14267 | ISRC CAD509612830

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

The machine’s four cardinal humours might be silence, radiation, momentum and magnetism. Silence is manifest as sudden change or stillness (“Off”), radiation as vibration, particularly sound and light (“Time”), momentum as the predictable repetition of the oscillator (“On”), and magnetism as an invisible force which, in the case of many machines, is memory. Any tonality present in The Machine’s Four Humours is derived from the machine or based upon 144,72 Hz, the fundamental of Mars (ancient, still machines).

Martin Gotfrit [xi-90]

8. John Oliver: Marimba Dismembered (1990) 3m00s imed_9604-1.8 | 14268 | ISRC CAD509612840

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

A dirge for Guatemala’s national instrument; a cry for an end to the genocide of the Mayan people. Marimba Dismembered was mixed at the Music Gallery (Toronto, Ontario) in August, 1990.

John Oliver [xi-90]

9. Zack Settel: Skweeit-Chupp (1990) 2m58s imed_9604-1.9 | 14269 | ISRC CAD509612850

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

The sound material in Skweeit-Chupp includes synthetic and acoustic sounds (voice and percussion). From pitch and envelope analysis, control signals are derived for FM synthesis and signal processing. This system allows for a given input signal to modify itself in terms of its processing and synthetic accompaniment. It was realized at IRCAM (Paris, France) in the summer of 1990.

Zack Settel [xi-90]

10. Stéphane Roy: Résonances d’arabesques (1990) 3m02s imed_9604-1.10 | 14246 | ISRC CAD509612860

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

This “implacable” three minutes is a pointillism of variegated shades, of sinuous melodic contours accompanied by a nervous hiccough in the low register. An ephemeral landscape punctuated by fragile and unpredictable arabesques, anxious about their existence before an inevitable end. Résonances d’arabesques was realized with the Syter digital interactive system at the <<acronym lang="fr" title="Groupe de recherches musicales">GRM and was constructed at the studio Ondes (Montréal, Québec). This piece was composed with the assistance of the ministère des Affaires culturelles du Québec.

Stéphane Roy [xi-90]

11. Daniel Scheidt: What If (1990) 2m59s imed_9604-1.11 | 14247 | ISRC CAD509612870

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

An interactive music software originally designed to interact with input from a live performer is instead made to ‘listen’ to itself. A chaotic musical feedback loop results as the system attempts to respond to its own output. What If was realized at the Luscar Studio of The Banff Centre for the Arts (Banff, Alberta) in August, 1990.

Daniel Scheidt [xi-90]

12. Bruno Degazio: Humoresque 901534 (1990) 3m01s imed_9604-1.12 | 14248 | ISRC CAD509612880

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

In fractal geometry there exists a particular formula, the ‘logistic equation,’ which produces wonderful chaotic patterns whose character can be changed dramatically by varying a value called lambda. I discovered this piece in the region between lambda = 0,9 and 0,901534, hence the title. The notes, rhythms and overall structure were determined entirely by the equation which is audible through changes in dynamics and orchestration.

Bruno Degazio [xi-90]

13. Richard Truhlar: Simulant (1990) 2m56s imed_9604-1.13 | 14249 | ISRC CAD509612890

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

Inspired by Jean Baudrillard’s thoughts on the hyperreal, Simulant [a neologism made from the words “assimilate” and “simulate”] is a short, dense demonstrative model which acts as a self-referential simulacrum: an image or semblance of itself. Like two mirrors facing each other, the reflection is endless, the image emptied of referent. This perception of the work suits the medium: electricity has been synthetically reproduced to masquerade as sound. The referent (acoustic sound) has been evaded. Composed in March, 1990.

Richard Truhlar [xi-90]

14. Gilles Gobeil: Associations libres (1990) 3m00s imed_9604-1.14 | 14250 | ISRC CAD509612900

Commission: René Lussier, with support from the CCA , empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

electric guitar, and tape
René Lussier, electric guitar

This piece was born of the desire after fifteen years, to collaborate with the guitarist René Lussier. Using his talent for improvisation, I have employed the wide variety of timbres and sound matter from his interpretation. The tape consists of a succession of very dense and expressive scenes onto which the guitar’s living and playful gestures are placed.

Gilles Gobeil [xi-90]

Associations libres (Free Associations), a commission of René Lussier with the support of the Canada Council [for the Arts], was realized at the studio Ondes in Montréal in July, 1990. [A different mix of this work has been released on compact disc in 1994. See IMED 9421]

Robert Normandeau: Bédé (1990) 3m01s imed_9604-1.15 | 14251 | ISRC CAD509612910

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

Le monde de l’enfance [The Realm of Childhood]; La vallée des fantômes [The Valley of Phantoms]; La quête de la voix [In Search of the Voice]

To my parents

Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece.

Robert Normandeau [xi-90]

Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival.

Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999.

15a. Robert Normandeau: Le monde de l’enfance (1990) imed_9604-1.15.15a | 23743 |

Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece.

Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival.

Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999.

15b. Robert Normandeau: La vallée des fantômes (1990) imed_9604-1.15.15b | 23744 |

Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece.

Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival.

Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999.

15c. Robert Normandeau: La quête de la voix (1990) imed_9604-1.15.15c | 23745 |

Borrowed from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude (Éditions de l’Homme, Montréal, 1989), the sounds used to create this miniature are taken from comic strips (bande dessinée in French, or its acronym BD—pronounced ‘bay day’), traditionally associated with childhood. Contrary to popular belief, I have never felt that childhood is a carefree time filled with happy and marvelous things. Rather it is a battleground where the child not only struggles against the exterior world of adults, but must encounter the enemies within—the demons, the phantoms. The voice of Marie-Hélène Blain, 11 years old, is the one and only sonorous element of the piece.

Bédé was produced at the composer’s studio and at the Groupe de recherches musicales (Ina-GRM) in Paris with the assistance of the Canada Council [for the Arts]. The piece was presented on November 2, 1990 at the Montréal musiques actuelles festival.

Bédé was commissioned by empreintes DIGITALes and was recorded on the disc Électro clips [IMED 9004, IMED 9604] in 1990; a stereo recording of a multitrack sound diffusion was produced at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993, and recorded on the disc Tangram [IMED 919/20]; a ramastered studio version was recorded on the rerelease of Tangram [IMED 9920] in 1999.

16. Laurie Radford: Landlocked (1990) 3m01s imed_9604-1.16 | 14252 | ISRC CAD509612920

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

From the center of a vast continent, land stretching out endlessly in every direction, the waves and depths appear both menacing and enticing… an inexplicable fear of things submerged… of what lies below the surface… the water lies so far away… or so it seems…

Laurie Radford [xi-90]

Landlocked was created using the Synclavier II at McGill University and the UPIC system (designed by Iannis Xenakis) at the Ateliers UPIC in Paris. The work was subsequently mixed at McGill University in July of 1990.

17. Christian Calon, Claude Schryer: Prochaine station (1990) 3m02s imed_9604-1.17 | 14253 | ISRC CAD509612930

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

Prochaine station (Next Station), a sound journey through Montréal, was realized in the personal studio of Christian Calon in August, 1990.

[ix-90]

18. Hildegard Westerkamp: Breathing Room (1990) 3m04s imed_9604-1.18 | 14254 | ISRC CAD509612940

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

This is the second in a series of Breathing Room pieces. Music as breath-like nourishment. Breathing as nourishing musical space. The breath — my breath — is heard throughout the three minutes. All sorts of musical/acoustic things happen as I breathe in and out. Each breath makes its own, unique statement, creates a specific place in time. Meanwhile the heart beats on, propelling time from one breath to the next.

Hildegard Westerkamp [xi-90]

19. Amnon Wolman: Man-Bridge (1990) 3m01s imed_9604-1.19 | 14255 | ISRC CAD509612950

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

The word ‘homeless’ is either misleading or a deliberate political lie. It implies that not having a physical space made of wood and brick means not having a home. It implies that not having a mailing address means that one does not exist. Man-Bridge is a short version of The day the bank came through created in part at CCRMA (Stanford University, California, USA) and in part at NCM (Northwestern University, Illinois, USA).

Amnon Wolman [xi-90]

20. Francis Dhomont: Qui est là? (1990) 3m03s imed_9604-1.20 | 14257 | ISRC CAD509612960

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

To myself

This is like a children’s guessing game, with its tracks that branch out in strange ways, its tangled paths, its purposely distorted ambiguities, and its conscious efforts to confuse: a labyrinth. The objective is to work through all of this and figure out who is hiding. But this game is for adults.

Behind these fragments—drawn from the musical discourse of ten works and then reconstructed into a three-minute evocation of a decade—the voice makes itself heard only to disappear again, evident only long enough to remind us that the person who is hiding will remain hidden forever.

Qui est là? (Who’s There?) was a milestone work even back in 1990, a “hyperspace fly-over” of the work of the ten years between 1979 and 1989: Mais laisserons-nous mourir Arianna? (1979), Sous le regard d’un soleil noir (1981), Points de fuite (1982), … mourir un peu (1984), Drôles d’oiseaux (1985), Signé Dionysos (1986), Chiaroscuro (1987), Chroniques de la lumière (1989), Novars (1989), and Espace / Escape (1989).

Francis Dhomont, November 1990 [English translation: Tom Carter, vii-02]

Qui est là? was realized in the composer’s studio in 1990 and was premiered on 2 November 1990 during the Acousmonium concerts of the Montréal musiques actuelles/New Music America festival. The present version was revised in 2001 in the composer’s studio. Qui est là? was commissioned by empreintes DIGITALes.

21. Roxanne Turcotte: Minisérie (1990) 3m05s imed_9604-1.21 | 14258 | ISRC CAD509612970

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

Three short scenarios without words, without images. The sound environment of a chase through different aspects of Hitchcock’s universe; the colorful flavor of Spielberg’s films; a cinematographic construction for the ears… and the imagination. Full of terror, this sonic tale unveils a macabre story in amusing ways, characterized by quick changes of perspective in the three dimensional music. Minisérie was realized at the studio Séducson in Montréal in July, 1990 with the assistance of the ministère des Affaires culturelles du Québec.

Roxanne Turcotte [xi-90]

22. Christian Calon: Temps incertains (1990) 3m02s imed_9604-1.22 | 14259 | ISRC CAD509612980

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3 Real

There are fascinating perspectives for today’s artists in the deciphering of the new shapes undertaken by this large secular movement towards cultural universalism. Against all appearances a new path seems to emerge that goes not through the elimination and erasing of differences but instead through the recognition and affirmation of local and individual particularities. Could it be that the matter of societies is similar to the matter of sound? Logic of destiny or temporary slip of fate? Temps incertains (Unsettled Times).

Christian Calon [xi-90]

23. Dan Lander: I’m looking at my hand (1990) 3m01s imed_9604-1.23 | 14260 | ISRC CAD509612990

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

I’m Looking at my Hand was made at home.

Dan Lander [xi-90]

24. Javier Álvarez: Mambo à la Braque (1990) 3m02s imed_9604-1.24 | 14261 | ISRC CAD509613000

Commission: empreintes DIGITALes

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

MP3

Like words made out of cutting letters from a newspaper, I have used in Mambo à la Braque (Braque-style Mambo) short musical segments which come from the well known mambo Caballo Negro by composer Dámaso Perez Prado to whom this short piece pays homage. I have reassembled them into a sound mosaic and used a few other sounds to ‘glue’ them together. My aim was to create a sort of cubist music, or put in other words, a mambo of my own invention made out of mambo cuttings.

Javier Álvarez [xi-90]

25. Charles Amirkhanian: Bajanoom (1990) 3m00s imed_9604-1.25 | 14089 | ISRC CAD509613010

Premiere: November 2, 1990, Montréal musiques actuelles/New Music America, Théâtre Les Loges (Montréal, Québec)

The somber mood of Bajanoom (separation, in Armenian) is a mirror of the composer’s own mood in light of the many nationalist movements, from Montréal (Québec) to Yerevan (Armenia), which have surfaced recently after many years of frustration and bitterness. Gong sounds sampled at the home of Lou Harrison are combined with the sounds of a musical saw, coffee grinder, guitar, and strings, all manipulated with the Synclavier instrument at the studio of Henry Kaiser, and with his assistance in Oakland (California, USA) in July, 1990.

Charles Amirkhanian [xi-90]

[va]: Électro clips: track detail

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