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    <title>electrocd.com - Dépêches</title>
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    <description>electrocd.com - Dépêches</description>
    <language>fr-ca</language>
    <pubDate>2013-05-23T00:00:00-06:00</pubDate>
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    <item>
      <title>Anniversaires de naissance</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=anniversaire</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=anniversaire</guid>
      <author>web@electrocd.com</author>
      <category>Général</category>
      <pubDate>2013-05-23T00:00:00-06:00</pubDate>
      <description>
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          <p>
  
          Aujourd’hui <span class="date">23 mai 2013</span>
          est l’anniversaire de naissance de:
          
          
          
            </p>
            <ul>
          
        
        
        
          <li>
        
  
        <a href="http://www.electrocd.com/fr/bio/colombier_mi/" class="ind" class="bio">Michel Colombier</a> (1939-2004);
  
        
          </li>
        
        
        
      
        
        
        
          <li>
        
  
        <a href="http://www.electrocd.com/fr/bio/man_ro/" class="ind" class="bio">Roderik de Man</a> (1941);
  
        
          </li>
        
        
        
      
        
        
        
          <li>
        
  
        <a href="http://www.electrocd.com/fr/bio/paolini_fi/discog/" class="ind" class="bio">Filippo Paolini</a> (1966).
  
        
          </li>
        
        
        
          
  
          
            </ul>
          
        
      
    

    
      
        <p>D’autres anniversaires r&eacute;cents et &agrave; venir:</p>
      
  
      <ul class="date-list-mini">
        
          <li> <span class="date">16 mai</span>:  <a href="http://www.electrocd.com/fr/bio/smalley_de/discog/" class="bio" class="ind">Denis Smalley</a> (1946)</li>
        
          
        
          <li> <span class="date">18 mai</span>:  <a href="http://www.electrocd.com/fr/bio/rochaiturbide_ma/" class="bio" class="ind">Manuel Rocha Iturbide</a> (1963), <a href="http://www.electrocd.com/fr/bio/sauguet_he/" class="bio" class="ind">Henri Sauguet</a> (1901-1989)</li>
        
          <li> <span class="date">19 mai</span>:  <a href="http://www.electrocd.com/fr/bio/kox_ha/" class="bio" class="ind">Hans Kox</a> (1930), <a href="http://www.electrocd.com/fr/bio/smekal_gi/" class="bio" class="ind">Giselher Smekal</a> (1945)</li>
        
          <li> <span class="date">20 mai</span>:  <a href="http://www.electrocd.com/fr/bio/mushet_ma/discog/" class="bio" class="ind">Mark Mushet</a> (1963), <a href="http://www.electrocd.com/fr/bio/schwarz_je/" class="bio" class="ind">Jean Schwarz</a> (1939)</li>
        
          
        
          <li> <span class="date">22 mai</span>:  <a href="http://www.electrocd.com/fr/bio/blackburn_ma/discog/" class="bio" class="ind">Maurice Blackburn</a> (1914-1988), <a href="http://www.electrocd.com/fr/bio/dockstader_to/" class="bio" class="ind">Tod Dockstader</a> (1932), <a href="http://www.electrocd.com/fr/bio/helvacioglu_er/" class="bio" class="ind">Erdem Helvacıoğlu</a> (1975), <a href="http://www.electrocd.com/fr/bio/muckle_ya/discog/" class="bio" class="ind">Yan Muckle</a> (1967), <a href="http://www.electrocd.com/fr/bio/zanesi_ch/discog/" class="bio" class="ind">Christian Zan&eacute;si</a> (1952)</li>
        
          <li> <span class="date">23 mai</span>:  <a href="http://www.electrocd.com/fr/bio/colombier_mi/" class="bio" class="ind">Michel Colombier</a> (1939-2004), <a href="http://www.electrocd.com/fr/bio/man_ro/" class="bio" class="ind">Roderik de Man</a> (1941), <a href="http://www.electrocd.com/fr/bio/paolini_fi/discog/" class="bio" class="ind">Filippo Paolini</a> (1966)</li>
        
          <li> <span class="date">24 mai</span>:  <a href="http://www.electrocd.com/fr/bio/blanchard_ph/" class="bio" class="ind">Philippe Blanchard</a> (1961), <a href="http://www.electrocd.com/fr/bio/boehmer_ko/" class="bio" class="ind">Konrad Boehmer</a> (1941), <a href="http://www.electrocd.com/fr/bio/horwood_mi/" class="bio" class="ind">Michael S Horwood</a> (1947), <a href="http://www.electrocd.com/fr/bio/nystrom_er/" class="bio" class="ind">Erik Nystr&ouml;m</a> (1978)</li>
        
          
        
          
        
          <li> <span class="date">27 mai</span>:  <a href="http://www.electrocd.com/fr/bio/lecaine_hu/discog/" class="bio" class="ind">Hugh Le Caine</a> (1914-1977)</li>
        
          <li> <span class="date">28 mai</span>:  <a href="http://www.electrocd.com/fr/bio/ishii_ma/" class="bio" class="ind">Maki Ishii</a> (1936-2003), <a href="http://www.electrocd.com/fr/bio/ligeti_gy/" class="bio" class="ind">Gy&ouml;rgy Ligeti</a> (1923-2006)</li>
        
          <li> <span class="date">29 mai</span>:  <a href="http://www.electrocd.com/fr/bio/brondum_la/" class="bio" class="ind">Lars Br&ouml;ndum</a> (1961), <a href="http://www.electrocd.com/fr/bio/kolman_pe/" class="bio" class="ind">Peter Kolman</a> (1937), <a href="http://www.electrocd.com/fr/bio/xenakis_ia/discog/" class="bio" class="ind">Iannis Xenakis</a> (1922-2001)</li>
        
          <li> <span class="date">30 mai</span>:  <a href="http://www.electrocd.com/fr/bio/oliveros_pa/" class="bio" class="ind">Pauline Oliveros</a> (1932), <a href="http://www.electrocd.com/fr/bio/oswald_jo/discog/" class="bio" class="ind">John Oswald</a> (1953)</li>
        
          <li> <span class="date">31 mai</span>:  <a href="http://www.electrocd.com/fr/bio/morita_sh/" class="bio" class="ind">Shinichi Morita</a> (1948), <a href="http://www.electrocd.com/fr/bio/robert_jo/discog/" class="bio" class="ind">Jocelyn Robert</a> (1959), <a href="http://www.electrocd.com/fr/bio/saintjohnperse_/" class="bio" class="ind">Saint-John Perse</a> (1887-1975)</li>
        
          <li> <span class="date">1 juin</span>:  <a href="http://www.electrocd.com/fr/bio/monahan_go/discog/" class="bio" class="ind">Gordon Monahan</a> (1956)</li>
        
          <li> <span class="date">2 juin</span>:  <a href="http://www.electrocd.com/fr/bio/lanza_al/discog/" class="bio" class="ind">alcides lanza</a> (1929), <a href="http://www.electrocd.com/fr/bio/neronbaribeau_ra/" class="bio" class="ind">Rapha&euml;l N&eacute;ron-Baribeau</a> (1980), <a href="http://www.electrocd.com/fr/bio/wyckmans_ma/" class="bio" class="ind">Marie-Jeanne Wyckmans</a> (1954)</li>
        
          <li> <span class="date">3 juin</span>:  <a href="http://www.electrocd.com/fr/bio/patachich_iv/" class="bio" class="ind">Iv&aacute;n Patachich</a> (1922-1993)</li>
        
          <li> <span class="date">4 juin</span>:  <a href="http://www.electrocd.com/fr/bio/smith_mi/discog/" class="bio" class="ind">Michel A Smith</a> (1958)</li>
        
      </ul>
    
  


                  
                
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      <title>Événements en cours et à venir</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=evenement</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=evenement</guid>
      <author>web@electrocd.com</author>
      <category>En concert</category>
      <pubDate>2013-05-23T00:00:00-06:00</pubDate>
      <description>
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    <ul>
      <li>
        <b>2 au 29 mai 2013</b>: <a class="out" href="http://www.alamuse.com/article/concerts/festival-extension-2013">Extension</a>: 13e festival
        
        
          Pr&eacute;sent&eacute; par
<a class="out" href="http://www.alamuse.com/">La Muse en circuit</a>
  
          (Paris, France)
        
      </li>

      
    
      <li>
        <b>16 au 25 mai 2013</b>: <span class="out" >Festival des musiques de cr&eacute;ation</span>: 22
        
        
          Pr&eacute;sent&eacute; par
<a class="out" href="http://www.musiquesdecreation.org/">FCM</a>
  
          (Jonqui&egrave;re, Qu&eacute;bec)
        
      </li>

      
    
      <li>
        <b>27 au 30 mai 2013</b>: <a class="out" href="http://nime2013.kaist.ac.kr/">NIME 2013</a>: 13th International Conference on New Interfaces for Musical  Expression
        
        
          Pr&eacute;sent&eacute; par
<a class="out" href="http://www.nime.org/">NIME</a>
  
          (Daejeon, R&eacute;publique de Cor&eacute;e)
        
      </li>

      
    
      <li>
        <b>29 mai au 2 juin 2013</b>: <a class="out" href="http://www.mutek.org/fr/festival/montreal/2013">Mutek 2013</a>: 14e Musique, son et nouvelles technologies
        
        
          Pr&eacute;sent&eacute; par
<a class="out" href="http://www.mutek.org/">Mutek</a>
  
          (Montr&eacute;al, Qu&eacute;bec)
        
      </li>

      
    
      <li>
        <b>29 au 30 mai 2013</b>: <a class="out" href="http://www.musiques-recherches.be/fr/agenda/item/5460-deux-visages-des-musiques-electroacoustiques">Deux visages des musiques &eacute;lectroacoustiques</a>: Musiques & Recherches (vid&eacute;omusique); Centre Henri Pousseur (musique mixte): Darren Copeland, Benjamin Thigpen…
        
        
          Pr&eacute;sent&eacute; par
<a class="out" href="http://www.musiques-recherches.be/">Musiques & Recherches</a>
  
          (Bruxelles, Belgique)
        
      </li>

      
    
      <li>
        <b>31 mai au 1 juin 2013</b>: <span class="out" >Between the Ears</span>: Open Ears + Contemporary Art Forum Kitchener and Area
        
        
          Pr&eacute;sent&eacute; par
<a class="out" href="http://www.openears.ca/">Open Ears</a>
  
          (Kitchener, Ontario, Canada)
        
      </li>

      
        <li>
          <a href="http://www.electrocd.com/fr/liens/even/en_cours/">Consulter tous les &eacute;v&eacute;nements &agrave; venir
</a>
        </li>
      
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    <item>
      <title>Ars Electronica Prix - Nicolas Bernier: tra frequenze e dicotomie</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4915</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4915</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-05-21T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                      
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/bernier_ni/discog/" title="Nicolas Bernier"><img src="http://www.electrocd.com/res/image.php/photo/bernier_ni.6459.jpg?width=250&height=250" /></a>
                        
                      
                    </p>
                  
                  
                  
                    
  
    Par Donata Marletta

    
      <i>in</i> <a class="out" href="http://www.digicult.it/it/news/ars-electronica-prize-winners-nicolas-bernier-between-frequencies-and-dichotomies/">Digicult</a> (Italie), 21 mai 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
        
          
            <p><span class="ind">Nicolas Bernier</span> &egrave; uno degli artisti pi&ugrave; interessanti e raffinati della scena contemporanea. La sua opera <span class="w">frequencies (a)</span> &egrave; stata premiata due giorni f&agrave; con il prestigioso Golden Nica per la sezione “Digital Musics and Sound Art” dal festival Ars Electronica.</p> <p>Nicolas &egrave; un artista del suono che lavora con strumenti meccanici e digitali. Le dicotomie sembrano descrivere al meglio la sua produzione artistica: digitale / organico, tradizione / sperimentazione, cerebrale / sensoriale, meccanico / elettronico. Le sue creazioni artistiche e collaborazioni sono varie; &egrave; anche membro di Perte de signal, un collettivo e centro di ricerca sulle arti multimediali situato a Montreal, e candidato al PhD in arti sonore presso la University of Huddersfield (Regno Unito).</p> <p>Il Golden Nica &egrave; stato l’occasione per intervistare Nicolas sui suoi ultimi progetti e la recente performance dal vivo di <span class="w">frequencies (a)</span> presentata durante l’ultima edizione dell’Elektra Festival di Montreal, direttore dall’artista e curatore Alain Thibault</p> <p><span class="ind">Donata Marletta</span>: Mi puoi parlare della performance sonora <span class="w">frequencies (a)</span>? Quali sono state le fonti d’ispirazione per questo tuo lavoro?</p> <p><span class="ind">Nicolas Bernier</span>: L’idea di lavorare con i diapason mi venne un po’ di tempo fa mentre stavo cercando un modo per integrare toni stabili nelle mie performances sonore che erano per lo pi&ugrave; basate su rumore e oggetti. Stavo cercando di evitare l’uso di strumenti musicali tradizionali come elementi tonali. Poich&eacute; ho sempre lavorato con oggetti obsoleti, e che spesso mi soffermo sulla relazione tra musica, suono, vecchia e “nuova” tecnologia, l’uso del diapason mi sembrava perfettamente logico. Lo era perch&eacute; il diapason in passato &egrave; sempre stato uno strumento scientifico di precisione, perch&eacute; &egrave; il simbolo della musica tonale, ma soprattutto perch&eacute; produce un suono che &egrave; vicino alla sinewave (onda sinusoidale) pura, uno dei primi suoni utilizzati nella composizione di musica elettronica. A quel punto iniziai una collezione di diversi tipi di diapason, dai pre-440hz del IX secolo ai pi&ugrave; recenti, usati in campo medico. Portavo con me i diapason ovunque (a quel tempo stavo facendo un po’ d’improvvisazione) e quindi realizzai un primo album usando i diapason (strings.lines, 2010, Cr&oacute;nica).</p> <p>Gradualmente fui ossessionato da quest’oggetto che divent&ograve; il mio strumento musicale principale. Ancora non ero del tutto soddisfatto perch&eacute;, attraverso la gestione manuale dei diapason, non potevo essere preciso come avrei voluto. Da questa esigenza mi venne l’idea di automatizzare i diapason.</p> <p><span class="ind">Donata Marletta</span>: Recentemente hai presentato <span class="w">frequencies (a)</span> al festival Elektra di Montreal. Come hai organizzato l’allestimento della performance dal vivo? Che tipo di strumentazione hai utilizzato?</p> <p><span class="ind">Nicolas Bernier</span>: Per questa performance il festival Elektra mi ha fornito la condizione pi&ugrave; ideale che potessi immaginare: una piccola sala (100 persone al massimo) unicamente dedicata alla presentazione di <span class="w">frequencies (a)</span> per tre giorni di fila. Questo &egrave; davvero un lusso poich&eacute; di solito i festival di musica elettronica sono alquanto schematizzati: una grande sala, un grande schermo, poco tempo per sistemare le apparecchiature in base ad un nuovo ambiente. C’&egrave; una ragione per tutto questo, non &egrave; una critica, ma il fatto &egrave; che alcuni lavori hanno bisogno di condizioni diverse. Questo &egrave; il caso di <span class="w">frequencies (a)</span> in quanto non &egrave; stata costruita secondo un formato standard per la presentazione, ma secondo i bisogni specifici della performance stessa. Poich&eacute; l’opera ha a che fare con oggetti di dimensioni ridotte (i diapason, piccoli solenoidi, suoni delicati, precisione), il pubblico ha bisogno di stare molto vicino all’opera. &Egrave; stata creata secondo il principio dell’intimit&agrave; piuttosto che della grande spettacolarit&agrave;.</p> <p>Per quanto riguarda la strumentazione, con l’aiuto di Laurent Loison e Olivier Lefebvre, abbiamo costruito delle piccole strutture in acrilico che trattengono i diapason e i solenoidi, usati per attivare i diapason. Ognuna di esse &egrave; collegata ad un microfono e ad un flusso di luce generato dal tavolo luminoso appositamente progettato sul quale sono collocate. Il tavolo inoltre nasconde la parte elettronica (usb / scheda dmx). Tutto il voltaggio inviato alle luci e ai solenoidi &egrave; trasferito attraverso la scheda dmx. Il resto &egrave; una questione di composizione, di organizzazione delle sequenze audiovisive in sincrono, che gestisco io dal vivo con Ableton Live e Max For Live.</p> <p><span class="ind">Donata Marletta</span>: Trovo davvero affascinante il modo in cui riesci ad abbinare strumenti analogici e digitali. Come ti poni rispetto a questi due elementi contrastanti?</p> <p><span class="ind">Nicolas Bernier</span>: Questa relazione tra l’elettronico e il meccanico / fisico &egrave; stato l’elemento scatenante che mi ha fatto venire voglia di lavorare nel campo delle arti elettroniche. Oggi il dialogo tra questi due elementi &egrave; totalmente fluente ma 10 o 15 anni fa, all’apice della laptop performance, quella combinazione era estremamente attraente in quanto la maggior parte dei lavori erano o esclusivamente digitali oppure non lo erano affatto.</p> <p>Da allora il mio lavoro ha sempre fatto affidamento sull’uso di elementi fisici processati da un computer. Lo stimolo per un’idea o un progetto viene sempre dal mondo fisico ma il modo in cui voglio presentare l’idea richiede abilit&agrave; al computer. Per me la cosa pi&ugrave; importante &egrave; l’equilibrio tra gli elementi, cercando di non precipitare sia nel completamente “naturale” e neppure nel completamente “digitale”. Io credo che non si dovrebbe distinguere tra il naturale e il virtuale / artificiale. Tutto &egrave; collegato e comunica reciprocamente, tutto &egrave; processato in un modo o nell’altro. Per esempio, l’azione di innaffiare una pianta pu&ograve; essere vista come un processo artificiale.</p> <p><span class="ind">Donata Marletta</span>: Hai una variet&agrave; di lavori e collaborazioni molto differenti, dalla danza, teatro, post-rock alle arti visive, performances sonore e musique concr&egrave;te. Mi puoi dire quali sono i tuoi punti di riferimento principali e le tue “muse ispiratrici”?</p> <p><span class="ind">Nicolas Bernier</span>: Sono profondamente interessato alle arti e non capisco perch&eacute; esistano delle “categorie”, se non per ragioni politiche e storiche. In ogni caso, non posso dibattere sul fatto che il mio mezzo principale &egrave; il suono e probabilmente rester&agrave; sempre questo. Il mio interesse si ferma ovunque, ed offre una molteplicit&agrave; di influenze al mio lavoro. Quando sono colpito da qualcosa, non mi chiedo a quale categoria faccia parte. &Egrave; la stessa cosa quando creo, faccio quello che sento di dover fare, senza chiedermi se la cosa rientra in una categoria o in un’altra. Questo &egrave; il motivo per cui, anche se il mio mezzo &egrave; il suono, spesso mi interrogo sull’aspetto performativo, teatrale, gestuale, visivo e, ovviamente, musicale.</p> <p>Per questi motivi le mie muse sono ovunque. Tendo a preferire le persone che mi stanno vicino. Denis Marleau e St&eacute;phanie Jasmin sono direttori di palco con i quali ho lavorato e che hanno avuto una forte influenza sul modo in cui percepisco le arti dal vivo. Olivier Girouard, Jacques Poulin-denis, Martin Messier e tutti gli artisti di Perte de Signal (un centro gestito da artisti di cui sono membro), sono tutti cari amici che mi hanno ispirato.</p> <p>Se dovessi fare dei nomi, direi: <span class="ind">Jim Jarmusch</span>, <span class="ind">Pierre Schaeffer</span>, <span class="ind">Marcel Dzama</span>, <span class="ind">Karl Lemieux</span>, <span class="ind">Janet Cardiff</span>, <span class="ind">Wong Kar-wai</span>, <span class="ind">FW Murnau</span>, <span class="ind">Karlheinz Stockhausen</span>, <span class="ind">Luc Ferrari</span>, <span class="ind">Francisco Meirino</span>, <span class="ind">Ryoji Ikeda</span>, <span class="ind">Hermann von Helmholtz</span>, <span class="ind">Sol LeWitt</span>, <span class="ind">Alain Bashung</span>, <span class="ind">Zimoun</span>, <span class="ind">Portishead</span>, <span class="ind">Chris Salter</span>, <span class="ind">Vil&eacute;m Flusser</span>, <span class="ind">Jacques Ranci&egrave;re</span>, <span class="ind">Marc Ribot</span>, <span class="ind">Wes Anderson</span>, <span class="ind">S&eacute;bastien Roux</span>, <span class="ind">Carl Andre</span>, <span class="ind">Arnaud Fabre</span>, <span class="ind">Jean-Pierre Gauthier</span>, <span class="ind">The Dillinger Escape Plan</span>, <span class="ind">William S Burroughs</span>, <span class="ind">Dan Flavin</span>, <span class="ind">Mark Fell</span>, <span class="ind">Gilles Gobeil</span>, <span class="ind">Herman Kolgen</span>, <span class="ind">Robert Lepage</span>, <span class="ind">Pe Lang</span>… ovviamente questo &egrave; quello che mi viene in mente al momento.</p>
          
        
  
        
          
        
      
    
    
    
  


                  
                
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      <title>Nicolas Bernier reçoit un Golden Nica</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=nouv-9869</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=nouv-9869</guid>
      <author>web@electrocd.com</author>
      <category>Général</category>
      <pubDate>2013-05-16T00:00:00-06:00</pubDate>
      <description>
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                          <a href="http://www.electrocd.com/fr/bio/bernier_ni/discog/" title="Nicolas Bernier"><img src="http://www.electrocd.com/res/image.php/photo/bernier_ni.6459.jpg?width=250&height=250" /></a>
                        
                      
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        <p>La pi&egrave;ce <span class="w">frequencies (a)</span> de <span class="ind">Nicolas Bernier</span> s’est m&eacute;rit&eacute;e le Golden Nica  — cat&eacute;gorie Musiques num&eacute;riques & art sonore — au Prix Ars Electronica (Linz, Autriche, 2013).</p>
      
    
  

  
  
  
  
  
  
  
    
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              <li class="lien">
                <a class="out" href="http://www.aec.at/prix/en/gewinner/#digitalmusics">Informations d&eacute;taill&eacute;es</a>
                au site aec.at
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  <a href="http://www.electrocd.com/fr/radio/?poste=bio_bernier_ni" class="radio"><img src="http://www.electrocd.com/res/element/btn-play.png" />
Nicolas Bernier</a>
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      <title>Acusmatica</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4900</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4900</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-05-01T00:00:00-06:00</pubDate>
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                        <a href="http://www.electrocd.com/fr/cat/imed_12117/" title="Formes audibles"><img src="http://www.electrocd.com/res/image.php/couv/imed_12117.jpg?width=160&forceresize=1" class="catimg" alt="Formes audibles" title="Manuella Blackburn: Formes audibles" /></a>
                      
                        
          
                        <a href="http://www.electrocd.com/fr/cat/imed_12119/" title="Greffes"><img src="http://www.electrocd.com/res/image.php/couv/imed_12119.jpg?width=160&forceresize=1" class="catimg" alt="Greffes" title="Monique Jean: Greffes" /></a>
                      
                      
                      
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    Par Massimiliano Busti

    
      <i>in</i> <a class="out" href="http://www.blowupmagazine.com/">Blow Up</a> #180 (Italie), 1 mai 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «… come testimoniano le recenti uscite di una delle etichette pi&ugrave; rappresentative nel settore, la empreintes DIGITALes.»
            
          
        
          
            <p>Sin dagli anni sessanta la sperimentazione sonora legata alla musique concr&egrave;te si &egrave; rivelata uno spazio congeniale alla sensibilit&agrave; femminile e il numero delle compositrici che oggi operano in quest’ambito appare sempre pi&ugrave; numeroso, come testimoniano le recenti uscite di una delle etichette pi&ugrave; rappresentative nel settore, la empreintes DIGITALes. <span class="ind">Monique Jean</span>, canadese classe 1960, attiva da tempo nell’ambito della musica per film e della sound art, in <span class="t">Greffes</span> anima un mondo magico che &egrave; gi&agrave; perfettamente definito dall’acusmar&igrave;ca pura di <span class="w">Givre</span>, la lunga composizione iniziale creata per dodici performance site-specific del coreografo <span class="ind">Tedi Tafel</span> sul ciclo delle stagioni, un’evocativa rappresentazione del risveglio della ntura nel mese di Marzo in cui l’energia vitale inizia ad animarsi Sotto la coltre dei ghiacci. Ad essa si affiancano tre brani basati sullo studio di altrettanti strumenti, in cui il sassofono di <span class="ind">Andr&eacute; Leroux</span> libera anelli di suono che si scompongono in effetti caleidoscopici (<span class="w">Ricochets</span>), la chitarra di <span class="ind">Tim Brady</span> genera architetture fantastiche grazie a un brillantissimo processo di elaborazione in studio (<span class="w">Misfit</span>) e il clarinetto di <span class="ind">Lori Freedman</span> si trasfigura in un’avvolgente nebulosa di drones e de!ays (<span class="w">low memory #1</span>). Materia elettroacustica purissima, suggestiva, iridescenre, perfettamente bilanciata.</p> <p><span class="ind">Manuella Blackburn</span>, inglese di Londra, &egrave; invece una giovane compositrice (del 1984) che utilizza una materia sonora pi&ugrave; fragile e sfuggente, meditativa (l’atmosfera da giardino giapponese evocata da field recordings e strumenti tradizionali in <span class="w">Karita oto</span>), mutevole (le elaborazioni timbriche di <span class="w">Spectral Spaces</span>) e vagamente ironica (l’uso degli utensili da cucina in <span class="w">Kitchen Alchemy</span>). Il suo <span class="t">Forrmes audibles</span> &egrave; un m&igrave;cro-universo ricco di sfumarure e sorprese in cui si apprezza l’estrema variet&agrave; dei contenuti e la profondit&agrave; di una ricerca che con lucidit&agrave; riesce brillantemente ad eludere la routine accademica.</p>
          
        
  
        
          
        
      
    
    
    
      
        <h2>Coupure de presse</h2>
  
        <p><img src="http://www.electrocd.com/res/press/4900.png" width="253" height="966" /></p>
      
    
  


                  
                
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      <title>25 au 30 avr: Kristoff K.Roll présentent 4 concerts à New York</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=nouv-9868</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=nouv-9868</guid>
      <author>web@electrocd.com</author>
      <category>En concert</category>
      <pubDate>2013-04-25T00:00:00-06:00</pubDate>
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        <p><span class="ind">Kristoff K.Roll</span> seront &agrave; New York pour y pr&eacute;senter deux concerts avec <span class="ind">Hans Tammen</span> au Spectrum, le <span class="date">25 avril 2013</span>, et &agrave; la radio WKCR le <span class="date">28 avril</span>. Ils seront en «solo» au Goodbye Blue Monday &agrave; Brooklyn le <span class="date">26 avril</span> et conclueront leur pr&eacute;sence &agrave; Harvestworks le <span class="date">30 avril</span> avec le vid&eacute;aste <span class="ind">J&eacute;r&eacute;mie Scheidler</span>.</p>
      
    
  

  
  
  
  
  
  
  
    
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              <li class="lien">
                <a class="out" href="http://www.harvestworks.org/apr-30-kristoff-k-roll-the-murmur-of-the-world/">Informations d&eacute;taill&eacute;es</a>
                au site harvestworks.org
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  <ul class="radio-list">


<li class="radio" id="radio-bio_kristoffkroll_">
  <a href="http://www.electrocd.com/fr/radio/?poste=bio_kristoffkroll_" class="radio"><img src="http://www.electrocd.com/res/element/btn-play.png" />
Kristoff K.Roll</a>
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      <title>Review</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4916</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4916</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-04-14T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.electrocd.com/fr/cat/imed_12119/" title="Greffes"><img src="http://www.electrocd.com/res/image.php/couv/imed_12119.jpg?width=160&forceresize=1" class="catimg" alt="Greffes" title="Monique Jean: Greffes" /></a>
                      
                      
                      
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    Par Vito Camarretta

    
      <i>in</i> <a class="out" href="http://www.chaindlk.com/reviews/?id=7550">Chain DLK</a> (&Eacute;U), 14 avril 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «… an extraordinarily vivid way by means of electroacoustic weaponry, granular sounds, thin whishes an withering sonic entities…»
            
          
        
          
            <p>Coming on the uncommon format of DVD-Audio to exploit the sonic cinematic quality of 5.1 surround, this second solo release by Montr&eacute;al-based composer <span class="ind">Monique Jean</span> succeeds in enmeshing listeners by means of meticulously moulded reticulums whose intrinsically intricacy seems to have been unravelled in order to make every graduated shading more appraisable and enjoyable by the adoption of a sort of modular laying of sonic flagstones or, to reprise the title chosen by Monique, a series of grafts and insertions. After the immersive long-lasting first track <span class="w">Givre</span> (French word for “hard rime,” the crystallization of water drops, caused by the so-called supercooling of fog), which renders this freezing process in an extraordinarily vivid way by means of electroacoustic weaponry, granular sounds, thin whishes an withering sonic entities, Monique elevates the concept, abridged in the title of her album (<span class="t">Greffes</span> is the French word for grasps), by three impressive grasps of traditional acoustic instruments into acusmatic offshoots: <span class="w">Ricochet</span> sounds like the tuning of a saxophone into a complicate system of dampers and shock absorbers, <span class="w">Misfit</span> — my favorite sonic game — seems to represent the transplant of electronic and electric circuits and belt sanders within the body of an electric guitar while on <span class="w">low memory #3</span>, Monique seems to trace the adventourous journey of clarinet sound over a route of tension pulleys, trip hammers and rusty wheelbarrows. On the final <span class="w">low memory #1</span>, a windmill of viscous drones, woody burrs and metallic creaking gropes into electric gusts in a streamlined way which will make it easy to metabolize even for listeners, who are not accustomed to this kind of sonorities and are invited to explore the interesting sonic research of tensions and ruptures of sonic matter and the transmutation of concrete sounds into a poetic dimension by this composer.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Made My Day</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4892</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4892</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-04-01T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.electrocd.com/fr/cat/imed_11108/" title="Automacit&eacute;"><img src="http://www.electrocd.com/res/image.php/couv/imed_11108.jpg?width=160&forceresize=1" class="catimg" alt="Automacit&eacute;" title="Christian Bouchard: Automacit&eacute;" /></a>
                      
                      
                      
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    Par Honker

    
      <i>in</i> <a class="out" href="http://www.terz.org/texte/texte_1304/honker.html">Terz</a> (Allemagne), 1 avril 2013
    
  

  

  
    
      
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            <p>Hier das komplette Gegenteil: Das auf DVD-Audio editierte zweite Soloalbum des kanadischen Elektroakustikers <span class="ind">Christian Bouchard</span> ist ein ganz besonderes Schmankerl zum Schluss. Das schwierigste Audiomaterial ist mitunter das Logischste also Fordernste also Beste. Die konsequente Klangakusmatik <span class="ind">Bouchard</span>s bietet mithin das radikalste Audio der Gegenwart. Es geht um die Transformation von abstraktem Expressionismus, um die konsequente Vermeidung von Erz&auml;hlung oder poetischem Ausdruck und der radikalen Nicht-Bezugnahme der Parameter Klang und Form. Wer hier noch mitkann und -will, ist ger&uuml;stet f&uuml;r die Zukunft. Der Rest ist R&uuml;st und Rost und R&uuml;pel f&uuml;r die Vergangenheit. Es ist zwar vorbei, aber die Erinnerung bleibt f&uuml;r die neue Tat.</p>
          
        
  
        
          
        
      
    
    
    
  


                  
                
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      <title>Nouvel arrivage: Alexandra par Yan Muckle, Zack Settel</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=catalogue-20130329</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=catalogue-20130329</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2013-03-29T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.electrocd.com/fr/cat/cl_2012/" title="Alexandra"><img src="http://www.electrocd.com/res/image.php/couv/cl_2012.jpg?width=160&forceresize=1" class="catimg" alt="Alexandra" title="Yan Muckle, Zack Settel: Alexandra" /></a>
                      
                      
                      
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    <p>
      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.electrocd.com/fr/cat/cl_2012/" class="cat" class="t">Alexandra</a>
      par <a href="http://www.electrocd.com/fr/bio/muckle_ya/discog/" class="bio" class="ind">Yan Muckle</a>, <a href="http://www.electrocd.com/fr/bio/settel_za/discog/" class="bio" class="ind">Zack Settel</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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      <title>Review</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4891</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4891</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-26T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
                    <p>
                      
                        
          
                        <a href="http://www.electrocd.com/fr/cat/imed_12120/" title="Lieux imaginaires"><img src="http://www.electrocd.com/res/image.php/couv/imed_12120.jpg?width=160&forceresize=1" class="catimg" alt="Lieux imaginaires" title="Steven Naylor: Lieux imaginaires" /></a>
                      
                      
                      
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    Par Vito Camarretta

    
      <i>in</i> <a class="out" href="http://www.chaindlk.com/reviews/?id=7521">Chain DLK</a> (&Eacute;U), 26 mars 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «… there’s always an emotional transmission which interferes with the somehow cinematic palette of field recordings…»
            
          
        
          
            <p>The filter <span class="ind">Steven Naylor</span> interjects to a series of field recordings on this release is mainly emotional memory. He makes such a cognitive and creative operation in a way which could be associated to the sight of a director of a movie or an essayist on a plot, so that there’s always an emotional transmission which interferes with the somehow cinematic palette of field recordings: the mechanical and electromechanical creaking and squeaking of gearwheels which enliven automatons of Devon-based designer-maker Tony Mann subtends an astounded and sometimes frightened wonder in front of the complexity of an “artifical life,” the emotional wires which permeates the fragment <span class="w">I wish</span> taken from plaintive song <span class="w">Home</span> by <span class="ind">Rita Rankin</span> seem to be stretched by longings, fears and imperilments related to wishes, a certain daunted and confused upheavel emerges from <span class="w">Irrashaimase</span>, an immersive track, named after the typical form of greeting that some Japanese shop keepers shout to invite new customers inside their shops, which depicts urban Japan with its inner contrasts between robotic and elegant, chaotic and musical, a dumbfounded contemplation arises from the wonderful sonic painting of Chiang Mai night market in northern Thailand where Steven kept the noises of motorcycles and other occasinal intrusions in his ethnomusicological documentary and a certain estrangement comes out on <span class="w">kune kune</span>, a track based on the oinks by these rare hairy pigs living in New Zealand and recorded nearby Bath. The final long-lasting <span class="w">The Thermal Properties of Concrete</span>, based on the fictitious narrator-character of a woman, wondrously performed by <span class="ind">Jody Stevens</span>, and a couple of senior staff members of the Planning Department of the City of Halifax. emphasizes the cinematic hooks of <span class="ind">Naylor</span>’s skills.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Reviews</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4886</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4886</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-25T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.electrocd.com/fr/cat/imed_12118/" title="&Agrave; l’ombre des ondes"><img src="http://www.electrocd.com/res/image.php/couv/imed_12118.jpg?width=160&forceresize=1" class="catimg" alt="&Agrave; l’ombre des ondes" title="Kristoff K.Roll: &Agrave; l’ombre des ondes" /></a>
                      
                      
                      
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    Par Wolfgang Kabsch

    
      <i>in</i> <a class="out" href="http://www.musikansich.de/review.php?id=12824">Musik an sich</a> (Allemagne), 25 mars 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «Dieses Tondokument haut einem bei dem Genuss unter Kopfh&ouml;rer rein klanglich weg.»
            
          
        
          
            <p>Dieses Duo aus Paris existiert seit 1990 und besch&auml;ftigt sich mit elektronischer Klangerzeugung und Klangkunst. Zumindest auf Ihrem neuen Werk <span class="t">&Agrave; l’ombre des ondes</span> kommt eine Art Spoken Word Komponente dazu. Bevor ich den fast unm&ouml;glichen Versuch starte, dieses Werk zu beschreiben eines vorweg: Der Hinweis auf dem Album, es sei f&uuml;r den Kopfh&ouml;rer gemacht, ist sehr wichtig. Dieses Tondokument haut einem bei dem Genuss unter Kopfh&ouml;rer rein klanglich weg. Die Sounds, Ger&auml;usche und auch musikalischen Fragmente umschwirren einen wie ich es selbst bei Surroundaufnahmen noch nicht geh&ouml;rt habe.</p> <p>Die Basis der 2 fast halbst&uuml;ndigen sowie dem 7 Minuten St&uuml;ck sind jeweils surrende und brummende Elektronik. &Uuml;ber diese legt das duo haupts&auml;chlich zwei Komponenten: 1.) eine dezent zusammengesampelte Ger&auml;uschkulisse aus Stimmen, Wasserrauschen, Stadtl&auml;rm und sonstigem und 2.) sehr angenehm und ruhig gesprochene Textpassagen. Da ich dem franz&ouml;sischem leider nicht m&auml;chtig bin, kann ich &uuml;ber den Inhalt leider nichts sagen, die Stimmen kommen jedoch klar und deutlich und angenehm gesprochen daher. Zu diesen Hauptkomponenten mischt das Duo dann und wann auch eine seltsame Form der Rhythmik und l&auml;sst aus den Ger&auml;uschen, Stimmen und Sounds sogar so etwas wie Melodien erwachsen. Keine herk&ouml;mmlichen, doch der H&ouml;rer hat im Gegensatz zu anderen Werken dieses Genres nicht den Eindruck, st&auml;ndigen Ger&auml;uschen ausgesetzt zu sein, sondern einer spannenden Entwicklung folgen zu k&ouml;nnen. Und zumindest beim ersten H&ouml;ren zuckt man h&auml;ufiger Zusammen, wenn dann pl&ouml;tzlich von ganz weit hinten tief dunkle Perkussive Schl&auml;ge kommen.</p> <p>Ich m&ouml;chte diese Scheibe als klangliche Erfahrung anpreisen. Ein perfekteres Kopfkino aus der Welt der Ger&auml;usche habe ich bisher noch nicht zu Ohren bekommen. Wie immer bei CD empreintes DIGITALes wird das Release durch das sch&ouml;ne Pappcover + die mit vielen Informationen best&uuml;ckten Inlays veredelt.</p>
          
        
  
        
          
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4887</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4887</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-25T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.electrocd.com/fr/cat/imed_12118/" title="&Agrave; l’ombre des ondes"><img src="http://www.electrocd.com/res/image.php/couv/imed_12118.jpg?width=160&forceresize=1" class="catimg" alt="&Agrave; l’ombre des ondes" title="Kristoff K.Roll: &Agrave; l’ombre des ondes" /></a>
                      
                      
                      
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    Par H&eacute;ctor Cabrero

    
      <i>in</i> <a class="out" href="http://grisli.canalblog.com/archives/2013/03/25/26732372.html">Le son du grisli</a> (France), 25 mars 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «… c’est l’imagination (je veux dire, le beau bruitage) de <span class="ind">Kristoff K.Roll</span> qui nous rattrape.»
            
          
        
          
            <p><span class="t">&Agrave; l’ombre des ondes</span>, de <span class="ind">Kristoff K.Roll</span> (<span class="ind">J-Kristoff Camps</span> et <span class="ind">Carole Rieussec</span>), est une invitation &agrave; la r&ecirc;verie. Des hommes et des femmes sont invit&eacute;s sur une m&eacute;ridienne (pour ne pas dire un divan, ce qui ferait de nous, auditeurs, des psys incomp&eacute;tents) &agrave; nous parler de leurs r&ecirc;ves.</p> <p>Il est difficile de raconter des r&ecirc;ves, pour cela il faut choisir les bons mots. Il faut aussi se concentrer pour ne pas &ecirc;tre d&eacute;rang&eacute; par le bruit d’un avion qui passe ou par celui de pas sur le gravier. Mais certains n’h&eacute;sitent pas. Un homme dit qu’il a rencontr&eacute; <span class="ind">Brigitte Bardot</span> pendant la guerre, que celle-ci vendait ses meubles. Une femme raconte son exploration de villes qui n’existent pas. Un autre homme avoue r&ecirc;ver &eacute;rotique. Une autre femme se souvient avoir perdu ses amis et s’&ecirc;tre retrouv&eacute;e seule dans une ville inconnue… Il y aura d’autres histoires, mon int&eacute;r&ecirc;t variera - je m’aper&ccedil;ois que le son de la voix et les intonations (trop «jou&eacute;es» parfois) peuvent avoir un effet n&eacute;faste sur mon attention. </p> <p>Les ombres sont courtes comme les ondes, m&ecirc;me si l’on peut y trouver une certaine fra&icirc;cheur. Mais lorsqu’on d&eacute;croche, c’est l’imagination (je veux dire, le beau bruitage) de <span class="ind">Kristoff K.Roll</span> qui nous rattrape. Le bois qui craque, l’eau qui endort, me convainquent de me laisser aller. Une foule parle fort, le soleil est aveuglant. «Je suis photographe d’animaux sauvages ayant pris place dans des voitures». Est-ce le r&ecirc;ve d’un autre &eacute;tranger ou bien le mien qui commence?</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Review</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4888</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4888</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-25T00:00:00-06:00</pubDate>
      <description>
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                        <a href="http://www.electrocd.com/fr/cat/imed_12118/" title="&Agrave; l’ombre des ondes"><img src="http://www.electrocd.com/res/image.php/couv/imed_12118.jpg?width=160&forceresize=1" class="catimg" alt="&Agrave; l’ombre des ondes" title="Kristoff K.Roll: &Agrave; l’ombre des ondes" /></a>
                      
                      
                      
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    Par Vito Camarretta

    
      <i>in</i> <a class="out" href="http://www.chaindlk.com/reviews/?id=7519">Chain DLK</a> (&Eacute;U), 25 mars 2013
    
  

  

  
    
      
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              «The final result is really interesting…»
            
          
        
          
            <p>Headphones become an entrance ticket for a sort of representation within representation by means of this bizarre release by <span class="ind">Kristoff K.Roll</span> (<span class="ind">J-Kristoff Camps</span> and <span class="ind">Carole Rieussec</span>), who focused on so-called dream narrative, not properly on dreams themselves. Their weaving of really immersive field recordings and inoculated frequencies lies on the perceptive threshold between outer happenings (hoo-ha or voices which sounds like coming from wide halls of consciousness before blackout and random dream assemblage, interferences of television broadcasting, traffic noises, chirping birds, barking dogs and so on are so perfectly rendered that listeners are going to experience a really immersive listening) and inner transfiguration which characterizes the half-sleep and dream states during occasional naps from the viewpoint of a napper, so that auditory stimulations get deliberately warped while each napper reports its own dream as a tagline and preface (in French) to the following sonic probing over the three long lasting tracks. Dreams or it’s better to say the deforming lens of dreams look like the real source of sounds, which awakens speechless archetypes, which inhabit inner depths of napper’s mind and resurface from the creases of senses while dozing under the perogla of frequencies. The final result is really interesting and the duo is so aware of it, that Carole and J-Kristoff are planning to buld a proper library of dream narrative by inviting listeners to record their own dream reports and some audio files to request a personal recording session to them. Just check <span class="t">&Agrave; l’ombre des ondes</span> and submit your file into this bizarre library in case you got intrigued by their odd sound concept.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4889</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4889</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-24T00:00:00-06:00</pubDate>
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                        <a href="http://www.electrocd.com/fr/cat/imed_12117/" title="Formes audibles"><img src="http://www.electrocd.com/res/image.php/couv/imed_12117.jpg?width=160&forceresize=1" class="catimg" alt="Formes audibles" title="Manuella Blackburn: Formes audibles" /></a>
                      
                      
                      
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    Par Fabien 

    
      <i>in</i> <a class="out" href="http://www.liabilitywebzine.com/?ac=non&contenu=viewchr&id=4809">Liability Webzine</a> (France), 24 mars 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «… des œuvres kal&eacute;idoscopiques qui n’h&eacute;sitent pas &agrave; m&eacute;langer de superbes traitements &eacute;lectroniques &agrave; des instruments plus traditionnels.»
            
          
        
          
            <p><span class="ind">Manuella Blackburn</span> a un cv long comme le bras comme, bien souvent, tous ceux qui &eacute;voluent dans la musique &eacute;lectroacoustique et/ou acousmatique. Bien qu’elle ait r&eacute;alis&eacute; de nombreux travaux &agrave; travers le monde, <span class="t">Formes audibles</span> est son tout premier album qui para&icirc;t sur l’un des labels les plus essentiel d&eacute;di&eacute; &agrave; la musique &eacute;lectroacoustique. Compos&eacute; de six pi&egrave;ces enregistr&eacute;es entre 2007 et 2011, ce disque nous d&eacute;voile une cr&eacute;atrice hors pair. Il est toujours difficile de d&eacute;gager quelqu’un par rapports aux autres cr&eacute;ateurs tant ces derniers sont tous des sp&eacute;cialistes du son, de son organisation, de sa puret&eacute;, de sa perfection… Cela se joue sur pas grand chose, sur des d&eacute;tails mais aussi sur un esprit artistiques que les autres n’auraient pas forc&eacute;ment. Certains restent trop techniques ou trop ancr&eacute; dans les pr&eacute;-requis du genre pour pr&eacute;tendre acc&eacute;der &agrave; un statut diff&eacute;rent de rat de biblioth&egrave;que sonore. <span class="ind">Manuella Blackburn</span> tente ici, avec une certaine r&eacute;ussite, &agrave; s’extraire d’un acad&eacute;misme bon teint dont on a fait largement le tour depuis bien longtemps. Certes, <span class="ind">Manuella Blackburn</span> ne s’en &eacute;chappe pas totalement mais elle propose des œuvres kal&eacute;idoscopiques qui n’h&eacute;sitent pas &agrave; m&eacute;langer de superbes traitements &eacute;lectroniques &agrave; des instruments plus traditionnels. <span class="t">Formes audibles</span> n’est &eacute;videmment pas un album facile d’acc&egrave;s et il est largement adepte des formes abstraites mais il y a une r&eacute;elle volont&eacute; d’avancer et de fabriquer des univers foisonnants qui ouvre notre imagination sur d’autres espaces. De fait, <span class="t">Formes audibles</span> ne saurait &ecirc;tre cloisonn&eacute;e mais ce n’est pas non plus un album irraisonn&eacute;. Tout y est assur&eacute;ment r&eacute;fl&eacute;chit, minutieusement pr&eacute;par&eacute;, enrichit &agrave; merveilles par un traitement d’une rare qualit&eacute;. Œuvre fantasmagorique qui rend l’abstraction musicale attractive tout en se rapprochant du <em>glitch<em>, <span class="t">Formes audibles</span> touche la perfection et met en lumi&egrave;re une <span class="ind">Manuella Blackburn</span> qui risque bien de faire reparler d’elle si elle continue dans cette voie.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Nouvel arrivage: Revue &amp; corrigée #95 par Artistes divers</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=catalogue-20130322</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=catalogue-20130322</guid>
      <author>web@electrocd.com</author>
      <category>Nouveautés</category>
      <pubDate>2013-03-22T00:00:00-06:00</pubDate>
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                        <a href="http://www.electrocd.com/fr/cat/rc_95/" title="Revue & corrig&eacute;e #95"><img src="http://www.electrocd.com/res/image.php/couv/rc_95.jpg?width=160&forceresize=1" class="catimg" alt="Revue & corrig&eacute;e #95" title="Artistes divers: Revue & corrig&eacute;e #95" /></a>
                      
                      
                      
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      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.electrocd.com/fr/cat/rc_95/" class="cat" class="t">Revue & corrig&eacute;e #95</a>
      par Artistes divers,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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      <title>Nouvel arrivage: Topographies par Martin Bédard</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=catalogue-20130313</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=catalogue-20130313</guid>
      <author>web@electrocd.com</author>
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      <pubDate>2013-03-13T00:00:00-06:00</pubDate>
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                        <a href="http://www.electrocd.com/fr/cat/imed_13121/" title="Topographies"><img src="http://www.electrocd.com/res/image.php/couv/imed_13121.jpg?width=160&forceresize=1" class="catimg" alt="Topographies" title="Martin B&eacute;dard: Topographies" /></a>
                      
                      
                      
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      Nous vous invitons &agrave; d&eacute;couvrir
      
      
      <a href="http://www.electrocd.com/fr/cat/imed_13121/" class="cat" class="t">Topographies</a>
      par <a href="http://www.electrocd.com/fr/bio/bedard_ma/discog/" class="bio" class="ind">Martin B&eacute;dard</a>,
      
      le plus r&eacute;cent article ajout&eacute; &agrave; notre boutique.
      
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Topographies</a>
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      <title>2 au 6 avr: 21 concerts à New York</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=nouv-9867</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=nouv-9867</guid>
      <author>web@electrocd.com</author>
      <category>En concert</category>
      <pubDate>2013-03-12T00:00:00-06:00</pubDate>
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                          <a href="http://www.electrocd.com/fr/bio/lewis_an/discog/" title="Andrew Lewis"><img src="http://www.electrocd.com/res/image.php/photo/lewis_an.6633.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/hoffman_el/discog/" title="Elizabeth Hoffman"><img src="http://www.electrocd.com/res/image.php/photo/hoffman_el.6279.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/justel_el/discog/" title="Elsa Justel"><img src="http://www.electrocd.com/res/image.php/photo/justel_el.2.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/adkins_ma/discog/" title="Mathew Adkins"><img src="http://www.electrocd.com/res/image.php/photo/adkins_ma.5440.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/tremblay_pi/discog/" title="Pierre Alexandre Tremblay"><img src="http://www.electrocd.com/res/image.php/photo/tremblay_pi.6198.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/berezan_da/discog/" title="David Berezan"><img src="http://www.electrocd.com/res/image.php/photo/berezan_8189.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/blackburn_manuella/discog/" title="Manuella Blackburn"><img src="http://www.electrocd.com/res/image.php/photo/blackburn_manuella.6252.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/tutschku_ha/discog/" title="Hans Tutschku"><img src="http://www.electrocd.com/res/image.php/photo/tutschku_ha.5703.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/jean_mo/discog/" title="Monique Jean"><img src="http://www.electrocd.com/res/image.php/photo/jean_mo.5931.jpg?width=250&height=250" /></a>
                        
                      
                        
                          
                        
                          <a href="http://www.electrocd.com/fr/bio/lotis_th/discog/" title="Theodore Lotis"><img src="http://www.electrocd.com/res/image.php/photo/lotis_th.1.jpg?width=250&height=250" /></a>
                        
                      
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        <p>Les 21 concerts et 5 installations du 3e New York City Electroacoustic Music Festival auront lieu du <span class="date">2 au 6 avril 2013</span>. Parmi les compositeurs dont une pi&egrave;ce est pr&eacute;sent&eacute;e, citons ceux d’empreintes DIGITALes: <span class="ind">Andrew Lewis</span>, <span class="ind">Elizabeth Hoffman</span>, <span class="ind">Elsa Justel</span>, <span class="ind">Mathew Adkins</span>, <span class="ind">Pierre Alexandre Tremblay</span>, <span class="ind">David Berezan</span>, <span class="ind">Manuella Blackburn</span>, <span class="ind">Hans Tutschku</span>, <span class="ind">Monique Jean</span> et <span class="ind">Theodore Lotis</span>.</p>
      
    
  

  
  
  
  
  
  
  
    
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                    Voir le site de l’&eacute;v&eacute;nement
                  
                
                  <a class="out" href="http://www.nycemf.org/program.php">NYCEMF ’13</a>
                  
                
                
                
                
                <span class="detail">
                  — 

                  3rd New York City Electroacoustic Music Festival: 21 concerts, 5 installations: 
                
                  2 au 6 avril 2013, New York, New York, &Eacute;U
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      <title>Review</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4879</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4879</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-12T00:00:00-06:00</pubDate>
      <description>
        <![CDATA[
                
                  
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                        <a href="http://www.electrocd.com/fr/cat/imed_12117/" title="Formes audibles"><img src="http://www.electrocd.com/res/image.php/couv/imed_12117.jpg?width=160&forceresize=1" class="catimg" alt="Formes audibles" title="Manuella Blackburn: Formes audibles" /></a>
                      
                      
                      
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    Par Vito Camarretta

    
      <i>in</i> <a class="out" href="http://www.chaindlk.com/reviews/?id=7502">Chain DLK</a> (&Eacute;U), 12 mars 2013
    
  

  

  
    
      
        <h2>Texte</h2>
      
        
          
            
              «The feature which makes Manuella’s sonic emissions so interesting is the bizarre blitzes of tonal music in the midst of electroacoustic lumps…»
            
          
        
          
            <p>A breath of fresh air over electroacoustic and acousmatic scene wafts from renowned Canadian label empreintes DIGITALes, which recently released the very first album by young English sound-artist <span class="ind">Manuella Blackburn</span>, whose remarkable curriculum isn’t frankly the one you could expect from a newcomer: she completed her musical studies at the University of Manchester with a Master’s Degree in Electroacoustic Composition with composer and director of Manchester Theatre in Sound (<acronym lang="en" title="Manchester Theatre in Sound">MANTIS</acronym>) <span class="ind">David Berezan</span> and a Philosophiae Doctor with <span class="ind">Ricardo Climent</span>, her music has been performed all over the world (Brazil, Canada, Italy, Cuba, France, Germany, USA, Canada, Sweden, Portugal, Costa Rica, Japan, Mexico, Chile, Argentina and so on) at concerts, conferences, gallery exhibitions and festivals and won many international awards and prizes such as Grand Prize in the Digital Art Awards in Fujisawa, Japan, in 2007, two first prizes at Concurso Internacional de Composi&ccedil;&atilde;o Electroac&uacute;stica M&uacute;sica Viva in Lisbon (Portugal) and many more.</p> <p>The feature which makes Manuella’s sonic emissions so interesting is the bizarre blitzes of tonal music in the midst of electroacoustic lumps, particularly in the first two tracks of this album, <span class="w">Vista Points</span>, built on different interactions between electric guitar sounds and processed material, and <span class="w">Switched on</span>, which sounds focused on chimes, laminar flows, switches and mechanical devices, where bubbles of tonal music seem to emerge from the depths of deep ponds. Another distinguishing feature of her sonic organisational set-up is the alternation of moments of intense activity and breaks or temporary inactivity, so that it seems that dynamics follows an inner respiratory drive as if each sonic entity is somewhat alive. In addition to the above-mentioned recordings, this feature is clear in the following ones: the engaging automaton of “Japanese” sounds in <span class="w">Karita oto</span>, the amazing flatware and kitchenware powered <span class="w">Kitchen Alchemy</span>, the following <span class="w">Caj&oacute;n!</span>, which combines the timbre of the Caj&oacute;n, a Peruvian percussion instrument, “palmas” claps (a clapping technique of flamenco) and other percussive material and the spellbinding gargles of microsounds and onsets of <span class="w">Spectral Spaces</span>.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Chroniques</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4877</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4877</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-07T00:00:00-06:00</pubDate>
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                        <a href="http://www.electrocd.com/fr/cat/imed_12119/" title="Greffes"><img src="http://www.electrocd.com/res/image.php/couv/imed_12119.jpg?width=160&forceresize=1" class="catimg" alt="Greffes" title="Monique Jean: Greffes" /></a>
                      
                      
                      
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    Par Simon 

    
      <i>in</i> <a class="out" href="http://www.goutemesdisques.com/chroniques/album/greffes/">Go&ucirc;te mes disques</a> (Belgique), 7 mars 2013
    
  

  

  
    
      
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              «Un tr&egrave;s bon disque, qui appelle sans cesse &agrave; la r&eacute;&eacute;coute.»
            
          
        
          
            <p>On vous parle pour la premi&egrave;re fois du label Empreintes Digitales, et pourtant on en suit toutes les sorties avec une attention syst&eacute;matique. Pour comprendre cette confiance aveugle, il faut pr&eacute;ciser que la structure est l’une des plus grandes r&eacute;f&eacute;rences en mati&egrave;re d’&eacute;lectroacoustique mondiale. […] <!--Un comble quand on sait que la structure se contraint &agrave; ne recruter que des artistes canadiens dans ses rangs. Une sorte de particularisme local qui a depuis longtemps &eacute;tendu son &eacute;cho au-del&agrave; de ses fronti&egrave;res nationales.--> Et pour cause, Empreintes Digitales ne sort jamais de mauvais disque. Si on ne connait pas la moiti&eacute; du quart des artistes pr&eacute;sents sur la structure (&agrave; moins de vivre dans l’underground montr&eacute;alais), tous ont en commun de justifier des curriculum vitae plus que pointus. Car Empreintes Digitales, c’est avant tout un rassemblement de mecs bard&eacute;s de dipl&ocirc;mes en composition &eacute;lectroacoustique. On est ici dans la frange «dure» du genre, celle qui fait la jonction entre les math&eacute;matiques appliqu&eacute;es et la stricte composition. Un catalogue qui peut para&icirc;tre comme trop pieux pour les profanes, mais qui devrait attirer l’attention - si ce n’est d&eacute;j&agrave; fait - des amateurs de risque contr&ocirc;l&eacute;s.</p> <p>Enfin si on vous parle de tout cela, c’est parce que <span class="ind">Monique Jean</span> vient r&eacute;cemment d’apporter sa pierre &agrave; l’&eacute;difice, et de bien belle mani&egrave;re qui plus est. On la connait peu, pour ne pas dire pas du tout, mais ce qu’on entend sur les cinq longues pi&egrave;ces de <span class="t">Greffes</span> nous suffit pour la consid&eacute;rer comme une pi&egrave;ce essentielle de l’&eacute;chiquier canadien du genre &eacute;lectroacoustique. Rien que le <span class="w">Givre</span> d’ouverture justifie &agrave; lui seul l’achat de ce DVD-Audio (ah oui, on a oubli&eacute; de vous dire, la structure ne publie que sur ce format pour pr&eacute;senter ses travaux en configuration 5.1): magnifique monstre de dix-sept minutes qui joue sur les infrabasses, les balises signal&eacute;tiques et les micro-fractures pour transcender d’une magnifique mani&egrave;re cette premi&egrave;re &eacute;tude rigoureuse du son.</p> <p>On pourrait d’ailleurs croire &agrave; l’&eacute;coute de ce premier titre que <span class="t">Greffes</span> annonce un disque de bon &eacute;colier, ce qui est finalement loin d’&ecirc;tre le cas. Car les quatre titres qui suivent optent pour une voie bien plus audacieuse (m&ecirc;me si la ma&icirc;trise de <span class="w">Givre</span> n’a rien de p&eacute;joratif), voire casse-gueule. Guitares pr&eacute;par&eacute;es, clarinettes et saxophones formeront tour &agrave; tour les bases de titres plus ou moins longs, assurant &agrave; cet ensemble des atours organiques virulents, parfois noise et d&eacute;routants.</p> <p>Quoiqu’il en soit, derri&egrave;re revient la m&ecirc;me ma&icirc;trise, permanente malgr&eacute; cette volont&eacute; de vouloir sortir d’une image trop scolaire. Un tr&egrave;s bon disque, qui appelle sans cesse &agrave; la r&eacute;&eacute;coute. Histoire de s’assurer qu’on n’en a pas fait le tour, que les interrogations sont l&agrave; pour durer. Pour tous les amateurs de sonorit&eacute;s bois&eacute;es.</p>
          
        
  
        
      
    
    
    
  


                  
                
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      <title>Critique</title>
      <link>http://www.electrocd.com/fr/select/blogue/?id=press-4876</link>
      <guid>http://www.electrocd.com/fr/select/blogue/?id=press-4876</guid>
      <author>web@electrocd.com</author>
      <category>Presse</category>
      <pubDate>2013-03-06T00:00:00-06:00</pubDate>
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                        <a href="http://www.electrocd.com/fr/cat/imed_12117/" title="Formes audibles"><img src="http://www.electrocd.com/res/image.php/couv/imed_12117.jpg?width=160&forceresize=1" class="catimg" alt="Formes audibles" title="Manuella Blackburn: Formes audibles" /></a>
                      
                      
                      
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    Par Fabrice Vanoverberg

    
      <i>in</i> <a class="out" href="http://grisli.canalblog.com/archives/2013/03/06/26574638.html">Le son du grisli</a> (France), 6 mars 2013
    
  

  

  
    
      
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              «… son œuvre m&eacute;rite plusieurs &eacute;coutes attentives…»
            
          
        
          
            <p>P&eacute;riode apparamment propice aux premi&egrave;res parutions discographiques, le d&eacute;but 2013 nous am&egrave;ne sur les traces de <span class="ind">Manuella Blackburn</span> et ses <span class="t">Formes audibles</span>. Marchant sur un sentier qui m&egrave;ne du bruitisme alla <span class="ind">Gert-Jan Prins</span> &agrave; l’&eacute;lectroacoustique de <span class="ind">Iannis Xenakis</span>, avec un net penchant pour le second, la compositrice de Manchester raye de son vocabulaire les notions de facilit&eacute; et de col&egrave;re. Pas fonci&egrave;rement accessible au n&eacute;ophyte, son œuvre m&eacute;rite plusieurs &eacute;coutes attentives avant de d&eacute;voiler ses saveurs, &eacute;trangement pernicieuses et sensuelles.</p>
          
        
  
        
      
    
    
    
  


                  
                
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