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[Fracture Mechanics] empreintes DIGITALes | IMED 9421 | 1994 pour ajouter à votre panier, cliquez le prix (le prix inclut toujours la manutention et le port)
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Le Québec électroacoustiquepar François Couture in electrocd.com (Québec), 22 mars 2004 |6138| On dit que le gazon du voisin est toujours plus vert que le nôtre, mais quand il s’agit d’électroacoustique, croyez-moi, le Québec n’a rien à envier aux autres régions du monde. Accusez-moi de chauvinisme, je n’en ai cure: le Québec abrite nombre de compositeurs de grand talent et de professeurs influents. Je ne veux pas m’embarquer dans un exposé analytique, mais, en tant que critique et auditeur invétéré, il existe pour moi une électroacoustique québécoise. Malgré la diversité stylistique de nos compositeurs, je perçois un «son» québécois, quelque chose qui, pour moi, n’est ni britannique, ni français, ni allemand; quelque chose qui m’appelle et me parle dans un langage plus immédiat, plus facile d’écoute. L’origine partielle de cette unité dans la diversité découle probablement de l’influence de quelques compositeurs-clé dont l’enseignement en milieu universitaire a marqué la relève d’ici. Je pense d’abord à Francis Dhomont et à Yves Daoust. Commençons donc cette piste d’écoute avec ce Français si québécois qu’il s’est mérité une bourse de carrière du Conseil des arts et lettres du Québec. Je peux recommander en toute franchise tous les disques de Dhomont: sa grâce, son sens narratif et son intelligence font de chaque pièce un objet d’émerveillement. J’ai souvent exprimé mon admiration pour Forêt profonde (y compris dans ma première piste d’écoute, je n’y reviendrai donc pas), mais Sous le regard d’un soleil noir, sa première grande œuvre, demeure un classique de l’électroacoustique internationale, et son Cycle du son, beaucoup plus récent, témoigne d’un art raffiné à la perfection — la pièce AvatArsSon, en particulier. Si l’œuvre de Dhomont s’est élaborée à partir de grands thèmes théoriques, littéraires et sociologiques, celui d’Yves Daoust tient plutôt de l’anecdote et de la poésie. La plupart de ses pièces montre une filiation aux idéaux abstractionnistes de l’école française, mais l’apparente naïveté de ses sujets (l’eau, la foule, une Fantaisie de Chopin ou un souvenir d’enfance) donne à sa musique une charge émotive inusitée. Son plus récent disque, Bruits, fait preuve aussi d’une volonté de croissance (on dénote dans la suite titre une certaine influence de ses étudiants) et contient une pièce au sujet politico-historique (Ouverture, sur les relations France-Québec) qui peut très bien accrocher l’auditeur néophyte. À ces deux noms d’une importance incontestable, il faut ajouter ceux de Robert Normandeau et de Gilles Gobeil. Normandeau représente bien ce que j’entends par un son québécois: un certain académisme dans la plasticité des sons (qui trahit l’influence des Britanniques et des Français), une originalité dans leur utilisation, une intelligence du propos qui, si elle pousse vers la réflexion académique, n’en aliène pas l’auditeur pour autant. Mon disque préféré demeure Figures, qui comprend la superbe pièce Le Renard et la Rose, construite à partir du roman Le Petit Prince, ainsi que Venture, un hommage à l’âge d’or du rock progressif (une marotte que je partage avec le compositeur, faut-il préciser). Gobeil, c’est la folie des grands espaces, la violence des passions humaines, les gestes brusques, les masses sonores lancées à la volée. Si La mécanique des ruptures demeure une écoute essentielle, son récent disque en collaboration avec René Lussier, Le contrat, représente son travail le plus accompli (et fascinant!). Si ces quatre compositeurs représentent la crème du milieu académique, on trouve aussi au catalogue d’empreintes DIGITALes de jeunes compositeurs et des artistes dont le travail renouvelle en profondeur le discours électroacoustique de leurs collègues. Mentionnons Fractures, le premier disque, tout frais, de Christian Bouchard, dont l’approche éclatée tient autant de l’électronica expérimentale que de l’électroacoustique universitaire. Ses suites Parcelles 1 et Parcelles 2 évoquent l’art vidéo numérique par leur fébrilité et leur fragmentation. Je recommande aussi chaudement l’album Connexions de Louis Dufort, qui mélange approche académique et bruitisme. La pièce Zénith, dans laquelle il utilise la voix du chanteur death-metal Luc Lemay (du groupe Gorguts), est simplement stupéfiante. J’aime beaucoup aussi l’humour un peu cru de Marc Tremblay. Son Bruit-graffiti fait un usage fréquent de la culture pop (des Beatles à Passe-Partout). Sa pièce Cowboy Fiction, un western pour l’oreille qui remodèle le rêve américain, conclut à merveille cette piste d’écoute. Sérieuse ou facétieuse, abstraite ou évocatrice, la musique électroacoustique québécoise s’est taillée une place de choix sur la scène internationale. À vous maintenant d’en explorer les multiples facettes.
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Pistes d’introduction aux beautés de l’électroacoustiquepar François Couture in electrocd.com (Québec), 15 octobre 2003 |6136| La musique électroacoustique est un goût acquis. Qu’on le veuille ou non, la radio et la télévision nous conditionnent à accepter un certain nombre de modèles musicaux (tonaux, rythmiques) comme étant «normaux». L’électroacoustique est dès lors perçue comme «anormale», tout comme d’autres formes d’expression musicale centrée sur le son plutôt que la note, telle l’improvisation libre. C’est pourquoi une première exposition à cette musique se révèle souvent être une expérience mémorable, positivement ou négativement. Plusieurs facteurs entrent en jeu, mais le choix d’un disque adéquat à une introduction amicale aide à faire de ce premier contact un choc esthétique d’une grande beauté et ainsi marquer le début d’une longue aventure. Avec cette piste d’écoute, je veux simplement pointer quelques titres qui m’apparaissent susceptibles d’encourager plutôt que de décourager, des titres qui ouvrent une porte sur un autre monde musical. Bien sûr, cette sélection ne peut qu’être subjective. Mais avec un peu de chance elle pourra servir de guide aux nouveaux enthousiastes du genre et aux apôtres qui cherchent des idées-cadeaux pour répandre la bonne musique. Après tout, la période des Fêtes s’en vient! Des passerelles On développe généralement un nouvel intérêt par excroissance d’un intérêt précédent. C’est-à-dire que l’on explore un genre musical qui nous est inconnu parce qu’un intérêt connexe nous y a mené. C’est pourquoi, dans le cas des musiques électroacoustiques, des œuvres mixtes (bande et instrument) ou qui abordent un sujet concret peuvent fournir cette passerelle qui ouvrira les horizons d’un nouvel auditeur. Par exemple, les amateurs de récits de voyage trouveront dans le Corazón Road du duo Kristoff K.Roll la narration sublimée d’un périple en Amérique centrale. Ceux qui ne sont pas trop grands pour s’intéresser encore au conte (j’en fais partie) trouveront dans Forêt profonde de Francis Dhomont une réflexion sur le conte inspirée du psychanalyste Bruno Bettelheim sous la forme d’une œuvre qui allie fils narratifs entremêlés et musiques d’une grande force évocatrice. Plus léger et fantaisiste, Libellune de Roxanne Turcotte tend une perche aux enfants sans pour autant simplifier ou niveler par le bas la démarche artistique. Les amateurs de guitare peuvent se tourner vers le fabuleux projet Parr(A)cousmatique d’Arturo Parra, un
guitariste classique virtuose qui travaille ici avec les meilleurs compositeurs québécois:
Stéphane Roy,
Francis
Dhomont (Québécois d’adoption, à tout le moins), Robert
Normandeau et Gilles Gobeil. Ce dernier vient d’ailleurs de lancer une
œuvre-fleuve, Le contrat,
avec le guitariste avant-gardiste René Lussier. Les amateurs de Lussier et les
gens captivés par le Faust de Des essentiels Pour ceux qui veulent pousser vers une électroacoustique plus abstraite, je conseille d’abord de visiter les compositeurs québécois. Chauvinisme? Du tout. En fait, la musique des Dhomont, Normandeau, Gobeil, Yves Daoust ou Yves Beaupré m’apparaît d’emblée plus accessible que celle sortie des écoles britanniques ou françaises. Elle possède un caractère immédiat, à l’impact plus prononcé (Gobeil), au lyrisme plus plaisant (Daoust, Beaupré), à l’architecture et aux thèmes plus accueillants (Dhomont, Normandeau). À titre de points de départ, je suggère Figures de Normandeau, La mécanique des ruptures de Gobeil, Cycle du son de Dhomont et Humeur de facteur de Beaupré. Cela dit, les œuvres de Michel Chion (son Requiem, tellement puissant), Bernard Parmegiani (La création du monde), Jonty Harrison (Articles indéfinis), Denis Smalley (Sources/Scènes) et Natasha Barrett (Isostasie) procurent des heures de beauté et de fascination, même si ces musiques paraissent à première vue plus arides ou difficiles d’approche. Et pour ceux qui s’intéressent à l’histoire de ces musiques, l’étiquette EMF offre L’œuvre musicale de Pierre Schaeffer, le père de la musique concrète et donc grand-père de l’électroacoustique. Des idées courtes L’album compilation a le pouvoir d’ouvrir toutes grandes les portes de l’électroacoustique, en offrant une large sélection d’artistes et d’approches stylistiques. Disponible à petit prix, eXcitations offre un échantillon intéressant des productions sur étiquette empreintes DIGITALes. Les albums Electro clips et Miniatures concrètes, ainsi que le tout nouveau volume de la série DISContact!, proposent de courtes pièces (souvent sous les trois minutes) qui sont autant de sources de découverte et de questionnement. Enfin, pour ceux qui désirent avancer tranquillement, à petits pas, la collection Cinéma pour l’oreille de l’étiquette française Métamkine offre une superbe série de mini-disques compacts d’une durée de 20 minutes chacun à prix moindre. Le catalogue comprend des compositeurs renommés tels Michel Chion, Lionel Marchetti, Michèle Bokanowski, Bernhard Günter et Éliane Radigue. De petits albums parfaits pour les échanges de cadeaux. Bien sûr, tout cela, ce ne sont que des suggestions. Le meilleur parcours de découverte est celui que vous vous défrichez au fil du temps. Bonne écoute!
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Commentarypar Andrei in microsound (ÉU), 20 avril 2002 |491_6|
«Some of the most satisfying electronic music I’ve heard in a while.»
Date: Sat, 20 Apr 2002 02:58:28 -0400 I picked up the two Gilles Gobeil CDs on empreintes DIGITALes last week and I have to say they are excellent. Some of the most satisfying electronic music I’ve heard in a while. Really seamless blend of subtle processing and all sorts of field recordings (lots of klangy sounds and factory/machinery type sounds). Very tastefully done, never falls into that contemporary electroacoustic trap where it’s like “great, here’s lots of granular synthesis.” His music seems to be guided a lot more by his vision rather than by technology. There are actually lots of moments in his music which remind me more of things like David Jackman’s Organum rather than “academic” electronic music. There’s a very “isolationist” vibe to his music. His more recent pieces, which are featured on … dans le silence de la nuit…, seem to revolve a lot more around a quiet stillness which is upset by bursts of activity. I was kind of surprised by Traces a piece from ’85 on the older CD is a great sort of old school concrete type piece with lots of jarring juxtapositions. I’m very happy to find that empreintes DIGITALes is proving wrong my long held, but kind of uninformed opinion that there hasn’t really been any good academic electronic music since the 70’s. And the electrocd.com site is really great. So many audio samples to check out. I probably wouldn’t have picked up the Gobeil discs if I hadn’t been able to check out the samples on their site.
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Spectro-morphological Structuring Process in Gilles Gobeil’s “Le Vertige Inconnu”par Joseph Harchanko in SEAMUS Journal #16:2 (ÉU), 1 septembre 2001 |447_1|
«… a masterpiece of electroacoustic music due to its explosively dynamic and
expressive structural direction.»
Introduction Gilles Gobeil’s 1992 composition Le vertige inconnu has quickly gained a reputation as a masterpiece of electroacoustic music due to its explosively dynamic and expressive structural direction. The purpose of this analysis is to explain the perceived integrity of a work that continues to achieve a positive consensus among composers, students, and audiences, or what Smalley refers to as a “consensus about the efficacy or failure of particular musical works, thus indicating an instinctive evaluation of the newer spectro-morphological values.” [Denis Smalley, Spectro-morphology and Structuring Process from The Language of Electroacoustic Music, ed. Simon Emmerson; Hardwood Academic Publishers: New York, 1986: 63.] Its expressive shape denotes an underlying structural cohesiveness transcending the mimetic qualities of its source material. The consensus on this piece points largely to structuring principles wholly independent of the concrete meaning of the subways, crickets, and other noises within this work. Instead, abstracted shapes work to create a sense of direction wholly independent of any associative meaning created by the sounding objects themselves. Spectro-morphology is by no means the only method of analysis for electroacoustic works; however, it is a means of describing the processes of the sounds themselves. In other words, spectro-morphology is the language of non-mimetic material, or at least the non-mimetic aspect of sonic material. Therefore, spectro-morphology requires disassociative listening - divorcing oneself from any external context, social or linguistic, presented by the sounding objects themselves. This analysis makes use of spectrographs to document the sounding energy of Le vertige inconnu. In these spectrographs, the Y-axis represents frequency bands, the X-axis represents time, and the color intensity represents relative energy within the frequency band. Our perception of sound is inescapably linked to our familiarity with physical gesture. The listener associates high-energy sound with high kinetic energy causation. The morphology of a sound is concerned with the onset of sound, either by physical or electronic means, and its motion towards the termination of the sound. The attack-decay archetype is a common physical model as it suggests a strong kinetic causation and the gradual diminishment of energy towards termination. Below is a spectrograph of a basic attack-decay gesture: Attack-decay Archetype
This image from 58 second into Le vertige inconnu represents the primary structural motive of the work. As the gesture moves towards termination, the high frequencies diminish in energy more quickly, moving the attention towards the sound’s low frequencies, thus creating a descending attack-decay gesture. By contrast, the next image is of a reversed attack-decay gesture. Its onset is less causative in the morphology of the sound and its motion towards termination is through an increase in spectral energy: Attack-decay Archetype
The morphologies that exist within a sound are reflected on various structural levels of the composition. The generative role of the onset, the motion towards termination or a new onset, and the presence of sustain portions of the sound, or continuants, occur at the lowest structural level. Likewise, larger structures will move away from the generative onset gestures towards terminating gestures. As textural-carried material is concerned with internal motion and not with external goals, it presents the higher-level corollary of the continuant. At the highest structural level, texture and gesture work as a dynamic dichotomy, reflecting similar motion patterns found at lower structural levels. Spectral Overview The perception of sectional structuring is very common even among first time listeners in beginning electronic music classes. The work has been divided into five sections for this analysis. The dividing marks have been placed at the following times: Section A (0:00 - 1:46), Section B (1:47 - 3:10), Section C (3:13 - 4:27), Section D (4:37 - 6:37), and Section E (6:57 - 8:20).
Section A A reverse attack-decay gesture opens the work, functioning as an anacrusis to the first descending attack-decay gesture. The opening gesture is extended from 2 to 5 seconds by several descending gestures (visible in the spectrograph below) before a second decisive descending attack-decay gesture signals the termination of the first gestural area. While the tessitura of the terminating gesture remains constant, the faster decay of the high frequencies creates a prolongation of the descending gesture, preparing the listener for the first texture-carried subsection. Gesture-carried Subsection - 0:00 to 0:15
The first texture-carried area is delineated by the primary descending attack-decay motive, acting as an onset to the subsection. The main textural area consists primarily of mechanical iterations. A great deal of motion is visible in the spectrograph, but it is motion without direction. The attack-decay gesture terminating the texture-carried area is weaker than those heard previously. Thus the texture continues beyond the gesture until a second descending attack-decay gesture brings the subsection to a more decisive close. The terminating gesture itself exhibits the same construction as the higher structural levels, as illustrated below: First Texture-carried Area - 0:16 to 0:34 ![]()
One of the curiosities of this composition is the collection of disparate sounding sources, particularly the presence of both naturally and mechanically produced sounds. In examining the second textural subsection, however, one discovers the morphological connection between the sounding sources. Textural areas throughout the work are dominated by repeated iterations - short periodic sounds without gestural direction. The second textural subsection consists primarily of insect noises sounding over a rooted pitch-space. However, a need for termination develops as the rooted pitch-space begins to climb in tessitura. It cannot continue indefinitely and therefore tension is created, transforming the texture-carried material into gesture-carried material. The gestural nature is reinforced both by tessitura and with an increase in aggregate spectral energy as the sounding objects increase in amplitude. A third sounding object is introduced between the frequencies previously occupied, complimenting the frequency spectrum to produce maximum effect. At 55 seconds the continuant stops with an interrupting gesture, clearly different than the preceding sounds due to its complimentary pitch-space. However, the terminating function is inconclusive since the gesture lacks the descending morphology of the primary onset/termination motive. End of Second Texture-carried Area - 0:41 - 0:57
The tension created by the ambiguity of this gesture is increased by the silence that follows. At 58 seconds the interrupting gesture is repeated, followed by a strong descending attack-decay gesture, bringing the subsection to a decided close. Within the first minute of Le vertige inconnu, Gobeil has established a functional spectro-morphological vocabulary so effectively that it can play upon expectations to create deceptive terminating gestures used to prolong the structural areas. 0:51 - 1:03
The third texture-carried area contains a similar structural process to the first texture-carried subsection. An increase in spectral density creates motion away from the texture-carried continuant towards termination. A descending attack-decay gesture at 1:32 anticipates the final build towards termination. However, the gesture at 1:37 lacks the terminating spectral energy to bring the section to a close. It is followed by a return of the mechanical iterations, which function as a textural prolongation. The final terminating gesture is a strong descending attack-decay gesture, prepared sufficiently though the prolongation of the terminating gestures to act as a final decisive termination to Section A. End of Section A - 1:31 - 1:46
Section A contains four subsections. The opening gesture-carried subsection serves to introduce the primary descending attack-decay motive. The following texture-carried subsection presents three important concepts: periodic iterations as texture-carried material, sectional prolongation by an interrupting motive, and the transformation from texture-carried material to gesture-carried material through the use of increasing spectral energy. The third subsection presents the ambiguity of the relationship between the sounding sources, which is to be addressed later in the composition. The fourth subsection serves to bring the section to a close by repeating the ideas of increasing spectral density and textural prolongation. Section A is summarized below: Section A - 0:00 to 1:46
Section B Section B provides a contrast to the more gesture dominated section A. The gestures within section B fail to give a sense of direction and therefore function as what Smalley terms “texture-framing.” [Ibid: 84]. An increase of spectral energy from 2:35 to 2:50 provides the first sense of gestural motion in Section B. However, the morphology of the terminating gesture is an upward motion in spectral energy and lacks the decisiveness of the primary motive. The following subsection appears as a different sounding environment through the use of reverb and resonance. Also significant to this subsection is the strong presence of harmonic frequency spectra, contrasting with the inharmonic spectra that dominate most of the work. This transition to the second subsection of B is shown below. The resolution and color are varied to better highlight the harmonic spectra.
Iterations from another source, perhaps a flute or an air brake, are mixed with the more harmonic iterations. Like previous textural areas, the continuant moves towards termination through increasing spectral density. Underscoring the importance of the principle motive, one can now intuitively hear how the final descending attack-decay gesture fulfils the terminative function that the upward gesture, bisecting this section, could not. Section B - 1:47 to 3:10
Section C Whereas section B is marked by a lack of gestural direction, section C brings back the mechanical iterations with an increase in gestural direction. This forceful motion is interrupted by the descending attack-decay gesture and is followed by a return of the high-frequency iterations from section B. Another descending attack-decay gesture acts as the onset to a slow textural build, as previously heard in section A. As in previous instances, the strong gestural activity of this section cannot be easily concluded with a single gesture. For this reason, the textural section at 4:14 is heard as an extension of section C. This section is decisively concluded at 4:24 with the descending attack-decay gesture, indicating the onset of Section D. Section C - 3:13 to 4:27
Section D Like section C, section D serves to further develop both previously heard sounds and structuring principles. The textural iteration motif from section A returns in section D. The spectro-morphological connection between the mechanical sounds and insect sounds was presented in section A when they were introduced in consecutive textural subsections. Now Gobeil’s brings the spectro-morphological connection of these disparate sound sources into high relief. As seen below, the insect iterations and mechanical iteration are neatly aligned, demonstrating to the listener their morphological similarity.
The role of the iterations is no longer textural. As they increase in amplitude they lead towards termination or a new onset. Their alignment serves not only to demonstrate their structural similarity, but also to increase the gestural direction. Their ultimate termination in the descending attack-decay archetype is strengthened by the careful alignment of this motive to the tempo of the iterations.
A second subsection of D is reminiscent of the slow textural build heard in section A. However, this motive is now combined with the sort of interrupting gesture heard in section A (0:55). Instead of being immediately followed by the concluding gesture, the gradual build starts again after the interruption, increasing the tension as the sectional termination is further postponed. Strong gestural activity terminates this build and acts as an onset to the return of the iterations, now in their new gestural role. The iterations move the listener to the climax of the work at 6:45, the strongest descending attack-decay gesture yet heard. Section D, although containing previously heard material, is unprecedented in gestural activity. The direction towards termination never wavers as interruptions only serve to heighten the tension. Just as the interruption of the middle subsection at 5:30 serves to prolong the tension, the middle subsection itself acts as an interruption of the gestural iteration motive which dominates this section. The material presented in the opening of this work has been transformed into the primary engine of structural motion towards the work’s ultimate goal. Section D - 4:37 to 6:57
Section E The need for preparation and balance before termination demonstrated in the individual sections and subsections of the work can also be found at the highest structural level of the work as a whole. The sudden conclusion of this piece at 6:45 would be anticlimactic. Therefore, the final section presents a simple structural idea that is consistent throughout the work: decisive termination through prolongation. Section E contains three subsections, each growing towards termination with a slow spectral build. The second subsection termination is less decisive than the first, leaving room for the ultimately decisive termination at the end of the work. Section E - 6:57 to 8:20
Summary The continuity of this work is based on repeated and varied use of similar material: long increases in spectral energy, repeated iterations of both insect and mechanical origin which are used both texturally and gesturally, sectional interruptions and prolongations, and strong descending attack-decay gestures used to delineate structural sections. Morphological ideas are clearly working at all structural levels: the shape of the sounds, how those sounds are combined to create larger gestures and sections, and the overall structure of the sections through the entire work. The first section acts as a large structural onset, the second as the start of the continuant phase, with sections C and D leading upwards in energy to the climax at the end of section D. Section E works as a prolongation of the terminating gesture used to round off the work. The structural principles of textural continuant transforming into gesture through spectral building with interruptions to heighten the sense of direction, and the use of prolongations to round them out occur simultaneously throughout the structural levels. On the highest level, the relationship between onset, interruption (I), termination (T) and prolongation are summarized below. Spectral Overview As stated previously, spectro-morphology describes but one aspect of a composition. Elements such as space and the meaning and contextualization of sounding sources may provide still deeper and richer insights into this work. However, spectro-morphology is the language of sonic experience. Masterworks of western music have traditionally been considered those works demonstrating skillful mastery of their fundamental materials, be they pitch/rhythm motifs or spectro-morphological motifs. Further, the development of these constructive materials into large-scale formal structures reflected on various structural levels is also a hallmark of craftsmanship. Finally, as Smalley emphasizes, the efficacy of a work is dependant on the listener’s experience. Gobeil’s careful attention to detail provides a dramatically linear work whose meaning deepens on subsequent hearings, a crucial trait for success in the fixed world of tape music. Careful study of the structuring principles of such a work provides a useful compositional model, connecting accousmatic music, “the rightful heir to western music” [Ibid: 61], to its roots.
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Reviewpar François Couture in All-Music Guide (ÉU), 1 septembre 2001 |439|
«… very powerful in its violent plasticity.»
La mécanique des ruptures (The Mechanics of Cleavage) is Gilles Gobeil’s first CD. The eight electroacoustic works culled here were created between 1985 and 1993 and vary from short clips Nous sommes heureux de…, one minute) to ambitious tape dramas (La ville machine, 15 minutes). In general, the longest pieces include an instrument or narration part. Suzanne Binet-Audet is featured on two such pieces playing ondes Martenot, one of the earliest synthesizers. Montréal electric guitarist René Lussier provided examples of his playing for Associations libres (Free Associations). But whatever the length or medium, Gobeil’s style remains pretty much the same throughout and could be (over)simplified to one single gesture: a door slamming shut. He throws buckets of sounds at the listener’s ears, multiplying contrasts between peaceful ambiances and sudden “bangs!,” often articulated by a short crescendo. This in-your-face approach to electroacoustics will please listeners who want “action” (i.e. loud ample movements of sound) . Nonetheless, Le vertige inconnu remains Gobeil’s strongest piece, very powerful in its violent plasticity. La ville machine, almost taking the form of a hörspiel, is another highlight. Its story follows three confusing but interesting parallel narratives (in French in the piece, but provided in an English translation in the booklet). Recommended.
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Reviewpar Geert De Decker in Sztuka Fabryka (Belgique), 7 décembre 2000 |360|
«[A] brillant CD.»
The English title is “The Mechanics of Cleavage,” and brings you 8 tracks of mysterious music. In a few tracks Gilles Gobeil has some co-operation from Suzanne Binet-Audet (ondes Martenot), René Lussier (electric guitar) and Lyette Limoges with text and scenario. It is mysterious music that brings you a soundscape of sounds as you think you are walking on a outer space planet where you have go through several places with obstacles. Doors of sounds opens, sounds apears and go away again. It is almost moviemusic or music that can be used in a dark space movie. The first track Le vertige inconnu (1993) really suits in this explenation as it really brings you in this atmosphere. The second track Voix blanche is in collaboration with Suzanne Binet-Audet who plays one of the earliest electronic instruments the ondes Martenot. The atmosphere and style is almost the same as the first track, only apart from some details such as a string sound. All other tracks has the same atmosphere apart from some details in the tracks who changes the mood of the tracks in an other direction. We encounter hypnotic moods, industrial sounds and… Different is the track 4 La ville machine (1992), “The Machine City” a better explanation you can’t find to describe the atmosphere in his music. This piece is a collaboration with Lyette Limoges who worked out a text and scenario for this musical play with the subject of sound ecology. A French text (with full English translation in the booklet) accompanies the story. It is just brillant this story and the atmosphere created in the sounds, it makes from it a cult Sience Fiction story. The last track is his most earlier work, without using sounds that you almost can find anywhere in the world for creating his atmospheres, he uses sounds that comes from synthesizers and electronics. Here you can hear which way he wanted to go to, and we must say that his later work where he plays in a magnificent way with sounds from our civilisation (street, home, industry…) is better for creating his musical worlds. A thick little booklet is added in this brillant CD, with full explanation of the artists and the tracks, in French and English.
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Reviewpar Richard di Santo in Incursion Music Review #015 (Canada), 5 octobre 2000 |358_61|
«Essential electroacoustic music that is sure to keep you from sitting still for even a
moment while listening.»
Comprised of eight compositions dating from 1985 through to 1993, La mécanique des ruptures (The Mechanics of Cleavage) was released in 1994. Gobeil describes his compositional technique as being similar to that of medieval stone-cutters, “who would strike rock, making it ‘ring’ in order to judge its worth for construction”. He further describes that his sound material “is subjected to restraint, to enormous pressure, until it finally sunders, shatters, transforms -- brought to its breaking point.” Fitting words indeed; each of these compositions carries with it feelings of intensity, tension, and urgency. The sounds are reaching critical mass, and seem like they’re going to break at any moment and explode right in our faces. The first piece, Le vertige inconnu (The Mysterious Vertigo), takes as its theme “the essense of solitude,” but on the contrary doesn’t feel very solitary. Bursts of concentrated sound alternate with quieter moments of field recordings and incidental noises. Voix Blance (White Voice), featuring Suzanne Binet-Audet on the ondes Martenot, is an extremely dramatic piece with a stunning sound dynamic. Abstract tones and concrete sounds fill a three-dimensional space that shifts in rapid motions, presenting first one scene, then another, creating a work of immense drama and movement. The third piece features the dynamic improvisational talents of René Lussier on electric guitar. The piece, explains Gobeil, “consists of a succession of very dense and expressive scenes, a suitable foil for the guitar’s vibrant, playful gestures.” As good a description of this piece as any. The fourth piece, probably the most ambitious and unique among this grouping, incorporates a text and scenario by Lyette Limoges, an intriguing and complex radio-play, full of mystery and compelling imagery: “The sun was setting. I saw an angel and it took flight, while all around lions tried to hold it back but… and then it became dark.” I was really drawn into this piece, which runs just short of fifteen minutes, and yet still manages to occupy a substantial psychological space in the listener. Further into the disc we find the tightly arranged piece Rivage (Shore), which utilizes “untouched sounds” from an urban environment. The ondes Martenot makes another appearance in the seventh piece, and Traces closes the disc off with further bursts of intense sounds and sharp movements. Intense, noisy and complex, La mécanique des ruptures presents a series of very compelling and challenging works. Essential electroacoustic music that is sure to keep you from sitting still for even a moment while listening.
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Reviewpar Mark Vail in Keyboard (ÉU), 1 août 1997 |244_7|
«… frightening sonic events…»
If ever there was an audio equivalent of a horror movie, this one’s it. Cacophonous crashes, jungle noises, water dripping in a cave, slamming boobym traps, tolling-for-thee bells, screaming machines, chattering air hammers, and René Lussier’s shrieking electric guitar: Gobeil pieces together these frightening sonic events, with occasional female narration in French, into a series of climaxes that may leave you hiding under the bed. It’s very highbrow, but much more spirited and listenable than typical academic electroacoustic stuff.
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Reviewpar Daniel Plunkett in ND #20 (ÉU), 1 juin 1997 |242_6|
«Impressive and recommended.»
“I’ve discovered that my work as a composer has much in common with this branch of civil engineering (stone cutting) — exploring and evaluating the behavior of material on the verge of splitting apart.” (from liner notes). This CD features work from 1985 to 1993. Much of the work is a roller coaster for the ears: dynamic shifts, sounds bouncing and then quickly turning double-takes in mid-air. There is an intensity here and a shaping of the material to the breaking point which is both inspiring and exhaustive. Impressive and recommended.
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Reviewpar Rick Bidlack in Computer Music Journal #20:4 (ÉU), 1 décembre 1996 |220_6|
«He is a sculptor whose medium is sound…»
Over the past three or four years, I have had the privilege of hearing several of Gilles Gobeil’s pieces performed and diffused live in concert. His work has always impressed me for its exquisite craftsmanship and extraordinary attention to detail, the sheer interest of his raw materials and their juxtapositions and transformations. Nonetheless, I have always had a nagging suspicion that what I was hearing was not music — something interesting and provocative, but not music. In reviewing this CD, I have had to face this suspicion, and I have come to the startling conclusion that Mr. Gobeil is, in fact, not a composer at all, but a sculptor. He is a sculptor whose medium is sound, or rather, the sonic by products of mechanical events, which are the real subject. Indeed, Mr. Gobeil comes close to admitting this himself in the short note that accompanies the present recordings, in which he mentions his fascination with medieval stone work and the behavior of materials under stress, of, for example, a rock “on the verge of splitting apart… brought to its breaking point.” His source materials include all manner of mechanical bangings, screeches, sunderings, throbbings, and whistles, many of which contain a strongly repetitive element. It is this repetition that lies at the center of my assertlon. Music is a temporal art. Fundamentally, the music of any style, in any historical period, serves to articulate the passage of time. We humans perceive the passage of time through that wonderful invention we call rhythm, which is also a form of cyclic repetition. What distinguishes human rhythm (and our own heartbeats) from mechanical repetition is that rhythm is always a deviation from the mechanical norm. It is the deviation from mechanical perfection that gives rhythm its ability to propel music forward in tirne, and it is the corresponding lack of any deviation that makes the ticking of a clock so static. It is not paradoxical to state that a clock cannot articulate time, it can only measure it. Sculpture, in contradistinction to music, is about the articulation of space, light, and texture. Translate these domains into the sonic realm and the discussion revolves around space, reverberation, intensity, and timbre. These are the fundamental elements that Mr. Gobeil’s works manipulate. Hence, a piece such as La Ville Machine contains a strongly cinematic quality that is apprehended more visually than aurally. In fact, there is a very strong sense of place in all of the pieces on this CD, as though one is wandering through a world populated only by factories, garages, and railroad crossings. Fascinating, too, is the sense that the sound components of pieces like Le vertige inconnu and its cousin Nous sommes heureux de… are clearly related to one another, but in what way? We still have no adequate means of coherently describing complex timbral relationships. Perhaps sculptors like Mr. Gobeil can shed light where composers have stumbled. I was frankly disappointed in the two works for Ondes Martenot, Voix blanche and La ou vont les nuages… not because they are lesser works than any of the others on this CD, but because the sound world of the Ondes Martenot integrates too well with that of the tape. Neither piece provides a contrast between the instrument and the tape, nor a soloistic focus — the Ondes Martenot is simply one more sound component, on a par with the others in the work. This is a pity, as the Ondes Martenot has an intriguing sound, and one would want to hear it in a setting that shows it off to better advantage.
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Critiquepar Dominique Olivier in Voir (Québec), 7 décembre 1995 |207|
«Gobeil compose, s’exprime, et nous
rejoint.»
Parmi les parutions québécoises de ces dernières années en musique électroacoustique, le disque de Gilles Gobeil fait figure d’exception. Chacune de ses œuvres est d’une densité expressive résumant, pourrait-on croire, des années de réflexion et de travail minutieux. Peu de créateurs dans le monde de l’électro ont une vision aussi nette de ce qu’ils veulent réaliser, et encore moins réussissent à l’exprimer avec une telle efficacité. Il s’agit ici, permettez-moi d’appuyer, de véritable musique, et non point d’une suite d’anecdotes révélant les instincts ludiques de l’auteur. Gobeil compose, s’exprime, et nous rejoint. À suivre… AVIS: Le texte reproduit ici est extrait du site de Voir et est protégé par la Loi sur le droit d’auteur du Canada. © Communications Voir Inc, 1995
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Reviewpar Steven & Alan Freeman in Audion #33 (RU), 1 septembre 1995 |205|
«… music that is really vivid, dynamic and almost 3-D…»
Not a name I’d heard of before, though like France, the French Canadian sector does tend to proliferate radical new-music composersl Almost as though he’s combining the talents of François Bayle, Bernard Parmegiani and Michel Redolfi, Gobeil makes electroacoustic music that is really vivid, dynamic and almost 3-D, and he’s capable in many different mediums: the purely sonic/electronic, the esoteric using rich synthetic tones (actually an Ondes Martenot on Voix Blanche), the dramatic (especially when aided by Rene Lussier’s guitar work on Associations Libres) and even the “cinema for your ears” genre with.the theatrical 15 minute La Ville Machine. The tracks that follow tend to combine the elements I’ve described above, and it gets all the more avant-garde, especially so on the closing track Traces. A devastatingly radical and fascinating album!
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Reviewpar Laurie Radford in CEC, Contact! #9:1 (Canada), 1 septembre 1995 |199|
«… [a] refined and singular approach…»
Winner of this past year’s Stockholm Electronic Arts Award and of numerous other international and national prizes over the past decade, Gilles Gobeil has established his refined and singular approach to electroacoustic composition with a growing series of works. This 1994 CD from empreintes DIGITALes brings together eight of his works from the past decade. The disc begins with Gobeil’s most successful work to date, Le vertige inconnu (1993), a work that in a sense summarizes the composer’s preoccupations found in varying degrees of evolution in the other works on the disc. He uses visceral sound materials that are drawn from machines, industry and the urban environment; fine attention to structural detail where abrupt, screaming sequences of grinding and whining metal are juxtaposed with the relative repose of whirring gears, hissing steam and rich, throbbing drones; and new spatial environments where these industrial voices are given shape, size, and speed as they collide and combine in ever-new trajectories and textures. Le vertige inconnu is severe, and of a beautiful purity of design and balance of form and material. Two works on the disc, Voix blanche (1988-89) and Là où vont les nuages… (1990-91), utilize the ondes Martenot in combination with tape and additional sources of sound generation and processing via MIDI (in the case of the Là où vont les nuages…). The ondes is not so much a soloist in these works but rather an equal sonic source contributing to and complementing the materials of the tape part with its crystalline, supple and haunting voice emerging from complex gestural and timbral constructs. It only predominates, like a sole survivor, in the ghostly interludes that hover softly between the main phrases of friction, collision and impending climactic punctuation. La ville machine (1992), “an electroacoustic drama on the subject of sound ecology”, is the heart of the disc both by its duration and its breadth of expression. There is an unflagging tension between breathless voices sharing images, nightmares, a mission fraught with confusion and apprehension, immersed in an environment constantly shifting from grotesque urban punctuations to collages of human activity, the seashore, the street, the playground… and the hopeful words of children. There is an urgency to the work and its contents, unsettling, yet optimistic in its unabashed confrontation and its embrace of the very source of the destruction it alludes to: the mechanized city. Rivage (1986) is perhaps the most blatantly visceral of the works presented here. It clearly reveals Gobeil’s early preoccupation with industrial sound materials and formal structures driven forward by the very weight of the sounds they contain. It features a more prominent use of fabricated materials in combination with environmental sources than the later works, but already maintains a darkly pensive character that finds its way into most of the later works. The earliest work presented on La mécanique des ruptures, Traces (1985) reveals, like Rivage, the seeds of Gobeil’s gestural and structural preoccupations: the contrast between highly charged textures and large, quivering spaces inhabited by delicate shimmers of sound and the chirping of natural environments. The reverse chronological order of the works on the disc takes us from concision and refinement back to a time of searching and discovery. Try reprogramming your CD player and follow the composer’s original journey!
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Critiquepar Rick MacMillan in SOCAN, Paroles & Musique #1:10 (Canada), 1 novembre 1994 |179|
«Une musique puissante qui mérite de se répandre.»
Titulaire de décorations internationales pour ses musiques électroacoustiques de caractère souvent dramatique, Gilles Gobeil nous présente ici huit œuvres dont La ville machine (Prix SOCAN l’an passé), Voix blanche (citations, concours de Bourges et Luigi Russolo), Rivages (2e prix, NEWCOMP, Boston), Traces (2e prix, concours Russolo) et les brèves Associations libres pour guitare électrique et bande. Une musique puissante qui mérite de se répandre.
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Énoncé du juryin Stockholm Electronic Arts Award (Suède), 22 septembre 1994 |176_7| Le «1994 Stockholm Electronic Arts Award» est d’un très haut niveau artistique et technique. Le jury a considéré que l’œuvre de Gilles Gobeil, Le vertige inconnu, s’imposait, d’abord par la clarté de sa forme dans la tradition classique de la musique concrète, mais aussi par sa faculté d’innovation à l’intérieur de cette tradition. Les principales caractéristiues du style de Gilles Gobeil sont le contrôle parfait du temps musical et l’efficacité des éléments sonores narratifs et anecdotiques qu’il emploie. Le jury tient également à souligner son professionnalisme, tant esthétique que technique, notamment dans les contrepoints sonores et dans sa maîtrise à conférer une unité formelle à la diversité du matériau utilisé.
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Critiquepar Albert Durand in Revue & Corrigée (France), 1 juin 1994 |174_503|
«Le propos, souvent musclé, est parfaitement maitrisé […]»
La mécanique des ruptures de Gilles Gobeil, huit pièces marquées par une quête de la rupture des matériaux, un climat basé en permanence sur la dualité tension/détente. Avec des pièces mixtes, comme Associations libres pour guitare (René Lussier) et bande, où le mariage des deux éléments est parfait. On note également une pièce avec texte, La ville machine, une sorte de fiction politico-futuriste avec une touche écolo. Le propos, souvent musclé, est parfaitement maitrisé mais hélas un peu trop similaire d’une pièce à l’autre, surtout que l’on retrouve souvent, en plus du procédé, des éléments sonores identiques. C’est un très bon disque mais il faut l’écouter pièce par pièce, jour après jour. À consommer avec modération. electrocd.com Gilles Gobeil: La mécanique des ruptures: critiques |
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