The Electroacoustic Music Store

La rage Pierre Alexandre Tremblay

  • Total duration: 49:08
  • UCC 771028099993
  • Canada Council for the Arts

DVD-Audio — Advanced Resolution: Surround 5.1 (MLP 44824) + Stereo (4424) •• DVD-Video [NTSC, multi-region]: Surround 5.1 (DTS, Dolby Digital) + Stereo (4824) •• DVD-ROM: MP3 (320 kbps), AAC (320 kbps) files

The 5.1 spatialization job is sobre yet effective, digital treatments are hard-hitting, the composition is dynamic, multiverse, and grabs you by the balls more than once.

— François Couture, Monsieur Délire, Tuesday, November 30, 2010

La rage

Pierre Alexandre Tremblay

Stefan Schneider

IMED 0999 / 2009

Some Recommended Items

Notices

Thanks

Such an endeavour (the realization of La rage) would not have been possible without the help of my beloved entourage:

  • Claudine, she who shares my life, or rather she who did not share my life while I toiled on this work. Without her, nothing would have been possible, and without our children, I would have perished!
  • Stefan, for his talent, patience, professionalism and dedication to the project. So much work… such generosity!
  • Sylvain, for his unconditional support, but mostly for his frank remarks and constructive criticism, and for all the help with [iks].
  • Robert, Jean and the electroacoustic community at the Université de Montréal, for welcoming me in their studios, where I literally squatted for several weeks.
  • Luk, for his reiterated faith in my projects, but mostly for the residence that allowed me to road-test the work in optimal conditions.
  • Jonty, for blindly programming the piece in concert, and for his support during my education.
  • Jean-François and Dominique, for their dedication to this music.

Finally, a special thanks to the Fonds québecois de la recherche sur la société et la culture (FQRSC), without which making ends meet would have been a trial during the 18-month period I spent composing.

Pierre Alexandre Tremblay [English translation: François Couture, vi-09]

In the Press

  • François Couture, Monsieur Délire, Tuesday, November 30, 2010
    The 5.1 spatialization job is sobre yet effective, digital treatments are hard-hitting, the composition is dynamic, multiverse, and grabs you by the balls more than once.
  • multipara, De:Bug, no. 143, Tuesday, June 1, 2010
  • Massimiliano Busti, Blow Up, no. 142, Thursday, April 1, 2010
  • Bad Alchemy, no. 65, Monday, March 1, 2010

Listening Diary

François Couture, Monsieur Délire, Tuesday, November 30, 2010

A lack of bass? Not La rage’s problem, clearly. This is Pierre Alexandre Tremblay’s latest offering on empreintes DIGITALes, and it is much better than his previous DVD. La rage is a 50-mnute suite featuring drummer Stefan Schneider in a concertist’s role. Metal electroacoustics! The 5.1 spatialization job is sobre yet effective, digital treatments are hard-hitting, the composition is dynamic, multiverse, and grabs you by the balls more than once. That said, I LOVE percussion — others may find this tiring on the long run.

The 5.1 spatialization job is sobre yet effective, digital treatments are hard-hitting, the composition is dynamic, multiverse, and grabs you by the balls more than once.

Kritik

multipara, De:Bug, no. 143, Tuesday, June 1, 2010

Zu den undogmatisch-offensten und mithin unberechenbarsten der kanadischen Elektroakustiker gehört zweifellos Pierre Alexandre Tremblay, und so überrascht es nicht, dass sein zweites Album (im Format DVD-Audio, incl. mp3) zum seltsamsten gehört, was mir in den letzten Monaten untergekommen ist. Oberflächlich führt der Titel nach einem Roman von Louis Hamelin in die Irre, denn bis auf die letzten zwei einigermaßen rasanten Minuten ist es ein eher nüchtern-ruhiges Werk, das er hier ums Spiel des kanadischen Free-Jazz-Schlagzeugers Stefan Schneider geformt hat. Aber kein trockenes, dafür steht die überaus farbige Ausgestaltung in zahlreichen elektronischen Texturierungen und Triggereffekten, mit denen sich Schneiders Schlagzeug (und Tremblays Bass) permanent in zusätzliche Dimensionen erweitern und sich von einer elektronischen kaleidoskopartigen Spiegelung in die nächste werfen. Das Besondere dabei ist nicht das eher brave Instrumentalspiel (das immer nachvollziehbar bleibt – hier wird nicht geschreddert), es ist das grenzenlose Vertrauen darauf, dass das Publikum einen Kopfhörer trägt und mitkriegt, dass das Klangbild keineswegs so dünn und locker ist, wie es oberflächlich wirkt, sondern bevölkert ist von feinstem, leckeren akusmatischem Gewebe.

Altrisuoni

Massimiliano Busti, Blow Up, no. 142, Thursday, April 1, 2010

More Texts

The Sound Projector no. 19, Vital no. 723