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Reviewpar François Couture in All-Music Guide (ÉU), 1 septembre 2001 |444|
«…the result remains pure Calon.»
Les corps éblouis (“Bedazzled Bodies”) is an EP released in 1998 by empreintes DIGITALes in its “Compact Compact” series. It contains only one work, the title track, first created in 1993 and revised the next year. The best example of Christian Calon’s work during his “second period” (while in Marseille, 1991-1995), it is meant as a complement to the full-length CD Ligne de vie: récits électriques which culled the best from his “first period” (in Montréal). This piece attempts to blend the metaphorical and the metaphysical in the transubstantiation of its sound source, an electric guitar. Moving away from the acousmatic esthetics of his 1980s works, the composer processes sound (instead of synthesizing it), but whatever the theories and techniques used, the result remains pure Calon. Washes of sounds revolve around the listener’s head in concentric circles until they reach a breaking point when they scatter away. This sequence occurs a few times, always with variations that alter the unity of the movement. The plasticity of Francis Dhomont’s works (especially Espace/Escape) can be felt throughout -- it is no surprise that the mentor spacialized the piece when it was premiered.
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Reviewpar Geert De Decker in Sztuka Fabryka (Belgique), 1 novembre 2000 |357_54| On this CD just one composition that takes 22:45 minutes, the name of the track is obviously Les corps éblouis and is created in 1994. It is an interesting composition that starts with soft non-rhythmical ambient tunes that can be described as having the sound of crystal instruments and strings. Halfway the colour of the composition transforms from musical waves into music that starts to get more hypnotic, very slowly it transforms. From crystal sounds it goes to a random assembly of tunes and strings. All happens so delicate that the transformation in tunes has almost an hypnotised effect. Almost to difficult to describe you have got to hear it, to understand it.
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Reviewin Audion #41 (RU), 1 novembre 1999 |320_55|
«… a piece of cosmic Parmegiani-esque genius…»
Calon is a master of such sonic art, and this single 22'45" work is a piece of cosmic Parmegiani-esque genius, a spatial floating atonal affair that moves to the realms of Gunner Møller Pedersen’s monumental ET LYDAR. Electronic sound-clusters that shimmeras if sonic flakes of glass, dart around in a digital wind, interrupted by a variety of other indescribable sounds, oozing and flowing in patterns that paint a sonic picture for our ears. It’s a superbly executed work, proving that empreintes DIGITALes can still deliver the goods.
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Discos / CD Reviewspar Francis Monroe in Hurly Burly #11 (Espagne), 1 juillet 1999 |315_5| Calon’s compositive technique defines itself as a metamorphosis of resources extracted from a single element; i.e. electric guitar. The transformation of sounds causes the emergense of a timbric morass orquestated in irregular and abstract masses that eliminate themselves by their own timbric feedback. Discos / CD ReviewsLa técnica compositiva de Calon se autodefine como una metamorfosis de recursos extraídos de un único elemento como es la guitarra elétrica. La transformatión de sonidos hace surgir un maremagnun tímbrico orquestado a modo de masas irregulares y abstractas que se autoeliminan por su propla realimentación tímbrica.
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Reviewpar Canary Burton in Alternate Music Press (ÉU), 31 décembre 1998 |290_5|
«I hope you will support this artist and buy his album!»
This album has one cut… the whole album. Starting with silence… then gradually letting the listener in on what is happening… Calon DOES explore space. Les corps éblouis was commisssioned by the Ina-GRM and the French state. On a formal level,Les corps éblouis is a work in which, through the development of the principle of metamorphosis, the result is that the Form is only legible superficially, and that it grows on the listener according to an irrational process. And music itself is heard using an “irrational process.” Oh yes, composers and other music professionals can use their “rational mind”… to take things apart, and sometimes to enjoy, but basically music is visceral. You either like it, it touches you somewhere… or it doesn’t. Lots of times one can hear a piece for the first, second or third times and dislike or be indifferent to it. And then the fourth time, love it! I have found that I didn’t like certain music in a period of my life and then heard it again years later and either understood or enjoyed it. This “underwater” … uh… “outer space” … “inner space?” … oh, whatever! IS enjoyable to me on the first hearing, but then, I LIKE space music. I like the listening rather than knowing the HOW of creation. Les corps éblouis is sanity making for me. It almost sounds like what I imagine my blood coursing through my veins would sound like it if I was in one of those “no reflection” sound chambers. Especially part way in to the “music”… a rushing sound like blood in the ears. We ALL like to “hear” ourselves… this is sorta like that. Now I hear the ocean, a tinkle of glass wind chimes, a glitter of bugs. Of course that’s what I hear… you may hear other things in it. A towing of whales… a metallic sound next. since I hear ocean, I hear the rigging of sailboats. But maybe tomorrow I will hear it different. There is alot here to hear! And it grows and grows! The now familier “computer” sounds… things played backwards… maybe. Eeks and Awks, but all in soft, interesting combinations… nothing to upset the listener from reverie. You must be able to tell by now that I hope you will support this artist and buy his album!
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Reviewpar Tom Schulte in Slug (ÉU), 1 décembre 1998 |287_302| Two composers you [will] not find on Miniatures concrètes are Christian Calon and Claude Schryer, but they both have recent releases on the label. Calon’s work Les corps éblouis is presented on a CD EP (22:45) of the same name. It seems an artists study in string tension. Sounds leap out of silence as an electrical guitar is used to in every conceivable way short of strumming. The results are further treated, for a final effect that is alien and complete.
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Kritiekpar Peter Wullen in Gonzo Circus (Belgique), 1 décembre 1998 |287_002| This is an interesting proposition, which can also be applied to the fine 22-minute composition Les corps éblouis by Christian Calon. The challenge for him was to create a piece based on metamorphoses. He uses as the single source an electric guitar, transformed to the point of being unrecognizable, which spirals its way up the auditory tract. KritiekEen interessante these die men ook kan toepassen op de fraaie 22 minuten durende compositie Les corps éblouis van Christian Calon. De uitdaging voor hem was een werk te creëren gebaseerd op metamorfose. Hij gebruikt slechts één geluidsbron, nl. een onherkenbaar vervormde elektrische gitaar die zich spiraalsgewijs een weg baant door je gehoorgang.
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Critiquepar Dan Warburton in Art Zéro #13 (France), 17 août 1998 |280_002|
«Si jamais une musique existait pour n’être écoutée qu’au casque, c’est
celle-ci.»
Je doute que trois minutes suffiraient à Christian Calon (né en 1950 à Marseille), dont le splendide Les corps éblouis, dans la série compact-compact — espèce de maxi-single —, dure 23 minutes. Si jamais une musique existait pour n’être écoutée qu’au casque, c’est celle-ci. Écoutez-là attentivement, surtout la fin — première citation de Jimi Hendrix dans la concrète?
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Reviewpar Garth Cheddar in Stridernews #5 (ÉU), 1 juin 1998 |273_5|
«… this is one of the good ones.»
The most recent release in the so far very interesting ‘budget’ [compact-compact] series of this fine electroacoustic label is by a relative newcomer who also has a full-length release available on empreintes DIGITALes. Les corps éblouis is a piece realized using only sound material from electric guitar, which has been manipulated to such an extent that only a few passages are recognizable as said instrument. Nicely flowing in that GRM style you know and love, and free from the abrupt, jarring sounds of much tape music, but not without a certain controlled intensity. The piece builds to a spiraling and dramatic (though not over-dramatic) climax which concludes with a nod to Hendrix. Worth checking out; this is one of the good ones.
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At a Glance Reviewspar Andrew Magilow in Splendid E-Zine (ÉU), 4 mai 1998 |268|
«Highly recommended!»
A single, self-contained, metamorphosing composition, Les corps éblouis (The Dazzled Bodies) clocks in at a little over 22 minutes. Calon provides a provocative range of sonic disturbances throughout this piece, ranging from ethereal driftings to tense, terse and turgid jabs into the surrounding silence. Impressively, Calon has total control over the variety of moods that his piece conveys (everything from peacefulness to schizophrenia), and expresses them superbly with this electroacoustic utterance. Highly recommended!
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Critiquepar François Tousignant in Le Devoir (Québec), 14 mars 1998 |266|
«… il sait exactement trouver le beau son, et aussi faire monter la tension
…»
Le titre annonce bien la nature de la collection: des disques compacts de courte durée sur lesquels on ne retrouve qu’une seule et relativement brève œuvre. Ici, une des dernières créations de Christian Calon, lancé lors de son passage à Réseaux. Le disque se fait alors prolongement du concert, entrouvre d’autres aspects de la personnalité du compositeur. Audiblement Christian Calon est un séducteur. A l’instar de Casanova, il sait exactement trouver le beau son, et aussi faire monter la tension avec des utilisations un peu plus agressives du timbre. Rassurez-vous: jamais du volume. Nous avons affaire ici à un compositeur, pas un manieur de décibels. Ses Corps éblouis ont été réalisés dans les studios de l’INA-GRM, et cela s’entend. Il est curieux de constater, encore et toujours, à quel point le lieu de réalisation d’une œuvre électroacoustique marque sa sonorité par les possibilités et l’équipement contrastants des divers studios. Ici, les carillons et les tenues graves sont une véritable signature que Calon utilise avec discrétion. On entre alors dans un autre univers, un peu comme celui de la méditation transcendantale, sorte d’influence d’un zen qui aurait perdu tout orientalisme folklorique pour se contempler lui-même. En laissant aller son oreille, elle découvre alors un parcours poétique dont la profondeur s’enrichit d’écoute en écoute. Ce qu’on manque en richesse d’espace (nos salons nous limitent à la stéréophonie), on le gagne en pouvoir de réécoute.
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Reviewpar M P in Vital #119 (Pays-Bas), 13 mars 1998 |264| The latest in a series of many brief compositions released by this peerless Canadian label who have played a major role in rejuvenating (more academic) electroacoustic music. Much of what they release are commissions from the French and Canadian governments or their appointees, who operate through some of the best electronic studios in the world. (No, Pierre Boulez is still in a world of his own, somewhere close to the sewers of Paris.) Christian Calon is a member of the younger generation of electroacoustic composers most of whom have access to the latest sound modifiers and so, like their predecessors, have to approach their tools in very individualistic ways in order to sound different to the rest of their gang. Mr Calon has a full length CD [Ligne de vie] out on empreintes DIGITALes which is still quite groovy and which I still bung on once in a while as an interesting counterpoint to everything else I have accumulated. What I find interesting about a lot of contemporary electroacoustic music is the limitations the composers set upon themselves. In this case [Les corps éblouis] Mr Calon sourced all sounds from an electric guitar and then he twisted them about, topsy-turvy like, using some quite accesible but still phenomenal software and additional devices, which make a guitar sound like anything but itself. The composition itself is 22 minutes long, but while listening to it I felt it had reached its level by about 17 minutes in. Then it built up again to another (less shattering) crescendo about a minute before the end. Absorbing stuff though.
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Musiques 94: Tous les chemins du possiblepar Lucien Guérinel in Le Méridional (France), 1 décembre 1994 |180_5| Christian Calon […] a trouvé dans Les corps éblouis, en une nouvelle conception de l’œuvre, les chemins les mieux orchestrés d’un univers étranger aux recours traditionnels mais avec un esprit et une sensibilité qui le rattachent à la démarche compositionnelle la plus universelle.
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Critiquepar Dominique Druhen in Libération (France), 10 mai 1994 |173_8|
«Facture irréprochable…»
Au concert de la soirée du 4 mai à La Criée […] la nouvelle version de Les corps éblouis (pour bande seule) de Christian Calon plongeait l’auditeur dans un foisonnement sonore sans respiration. Facture irréprochable pour un déferlement quasi océanique. […] la recherche aboutie d’un continuum de la matière parvenait à abolir le temps.
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Le concert du soirin La Lettre du musicien (France), 14 juin 1993 |160_5|
«… une impression de plénitude et de maturité…»
Les corps éblouis de Christian Calon sont une pièce strictement acousmatique où tout se joue dans la continuité, la fluidité. Guère de rupture mais un long fleuve (en apparence tranquille mais parsemé d’une quantité d’événements). On est d’emblée surpris par la richesse de cette trame sonore, et la synthèse parfaitement réussie entre ces fines ciselures et une impression d’ensemble parfaitement lisse. En fait, la pièce est musicalement parlant, presque traditionnelle, hantée par les hauteurs repérables, et l’on pourrait parfois en préciser la tonalité. Des notes, des accords pivots viennent souvent lui donner forme, et la matière même de la texture demeure précise et cohérente, à la manière d’une partition d’orchestre. Et comme toute bonne partition, la pièce «tient la route» parce qu’elle est ramassée, qu’elle ne se gaspille pas en tous sens, que sa structure est lisible, construite très progressivement avec, dans le dernier quart une densification régulière de la matière et, pour terminer un très classique diminuendo. De cette rigueur naît une impression de plénitude et de maturité, notamment dans la maîtrise de l’espace. autres textes dans
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