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electroradio
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Reviewpar François Couture in All-Music
Guide (ÉU), 1 août 2001 »
«Titakti is one of the unsung classics…»
Titakti is one of the unsung classics in the catalog of electroacoustic label empreintes DIGITALes. A cycle of four works ranging from six to 21 minutes, it was created after Philippe Le Goff spent five years in the Arctic, more precisely in Nunavik (Québec), in a handful of villages lost in the Northwestern Territories (Canada), and on Coat Island and Baffin Island. The composer immersed himself in the culture, language and daily lives of Inuits. The resulting pieces are passionate tributes to a culture still very much anchored in tradition. Speech, singing and field recordings are paired with acousmatic sounds and occasional musical instruments to create truly cinematic works, like the actual sound track to a hidden movie. The stand-out title is La Guerre (“War”), a beautiful solar piece driven by Inuit chants and enhanced by a delicate music score made of minimal contributions by a wide array of instruments, from tabla to electric guitar, Hammond organ, shinaï, and a trio of French horns evoking the sound of exploration boats. The other track featuring “music” is Nipingit—la parole, in which violin and viola dialogue with Inuit women. Meta incognita and Plan séquence (“Action Shot”) respectively open and close the CD on wide panoramic views. Laughter and joy of life inhabit all four works, making them feel like as many movements of a larger piece. Straying lightly from the more academic musique concrète to enter the realm of film-sound documentary, Titakti sits the listener in the middle of an Inuit village. Very strongly recommended, especially to persons who are looking for an easy introduction to tape music. The album was released in empreintes DIGITALes’ “Compact Compact” series.
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Discospar Esteban Lago in Hurly Burly #12 (Espagne), 1 janvier
2000 » Music conceived with very ambivalent aspects in which both the voice and the electronic fragments chosen for interacting with it are in constant motion. Maintained over certain vocal gestures, percussion collapses to include new liquid spaces within the planes, their distribution turned into surprise and contrast. A recording clearly intended to aural stimulation by means of spatialization.
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Reviewpar George Zahora in Splendid
E-Zine (ÉU), 19 octobre 1998 »
«… this will be the one with which you begin your own exploration.»
Released as part of empreintes DIGITALes’ “bargain” range of electroacoustic CDs, Titakti provides a good opportunity to get your metaphorical feet wet in the less immediately musical aspects of electroacoustic composition. These four sonic studies address the experiences, moods and cultural differences of the artist during his time spent in the Canadian Arctic among the Inuit peoples. With the exception of occasional string instruments and various natural percussion, the disc is “built” primarily of Inuit conversations, mouth-sounds and environmental noises (including wind, animals, birds and the sounds made by humans going about their lives). The listener immediately discovers that Inuit language is very different, an extremely economical form of communication that is also far more varied in the range of sounds it employs. While Meta Incognita addresses the isolation and intimacy of the land, Nippingit—la parole deals with conversation and interviews. La guerre is an alarming, confrontational “battle” between voice and vocalization, with trance-like chants used as ranged weapons. Plan séquence is an immersive auditory tour of a small Inuit village; make sure you’ve got good speakers for this one. Like all good electroacoustic works, Titakti succeeds in entertaining despite its paradigm-shattering departure from (and total lack of resemblance to) mainstream music — perhaps this will be the one with which you begin your own exploration…
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Critiquepar François Tousignant in Le
Devoir #40 (Québec), 11 octobre 1995 »
«Que de goût dans ce disque! Que de réserve et de discrétion.»
Chut! Est-ce le vent? D’où viennent ce souffle dans la toundra, cette parole dans le froid? Fascination de l’environnement qui semble vide d’objet, qui se déploie tout d’un coup, plein de sens. Cette musique électroacoustique (ou acousmatique, ou électronique, ou concrète, je ne veux pas blesser Philippe Le Goff dans son allégeance esthétique) est de la plus pure poésie. Comme un poème, on prend une œuvre, on l’écoute dans le noir et le silence, et un univers se déploie lentement, tranquillement et sereinement devant nous. Pas d’agressivité. Le Français s’est pris de vraie affection pour les Inuits et le Grand Nord; il nous rend cela avec une humilité qui émeut. Au delà des querelles esthétiques et politiques, il y a ici de la musique de l’âme, de la vraie, qui aspire l’auditeur dans un délicieux vertige. Que de goût dans ce disque! Que de réserve et de discrétion. Des secrets se cachent. Essayez de les découvrir...
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Critiquepar Jérôme Noetinger in Revue & Corrigée
#25 (France), 1 septembre 1995 »
«On aurait pu imaginer une rencontre entre Philippe Le Goff et les
Residents d’Eskimo.»
Philippe Le Goff est de la nouvelle génération, de celle qui sait voir au-delà, qui sait qu’ailleurs existe et qui, éventuellement, veut en témoigner, comme par exemple les Kristoff K.Roll, Lionel Marchetti ou Dominique Petitgand. Philippe Le Goff est un voyageur, un défricheur. Titakti son premier disque, nous propose quatre études réalisées à partir de ses voyages au Nunavik (Arctique québécois) et au Nunavut (Territoires du Nord-Ouest), chez les Inuit. Les voix, les rires, la langue ont cette particularité inimitable et se confrontent parfois à des bribes de musique occidentale, on a aussi le souvenir, la trace du voyage dans l’interprétation de la musique des Inuits par des musiciens d’ici. On aurait pu imaginer une rencontre entre Philippe Le Goff et les Residents d’Eskimo. electrocd.com Philippe Le Goff: Titakti (CD): critiques |
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