- Compositeur(s): Ned Bouhalassa, Alexandre Burton, Christian Calon, Yves Daoust, Francis Dhomont, Louis Dufort, Luc Fortin, Michel Frigon, Gilles Gobeil, Monique Jean, Daniel Leduc, Emmanuel Madan, Robert Normandeau, Mario Rodrigue, Stéphane Roy, Claude Schryer, Michel A Smith, Claudia Tamayo, Martin M Tétreault, Pascale Trudel, Roxanne Turcotte, Annette Vande Gorne
- Durée totale: 63:49
- UCC 753027097828
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“A hybrid thing in four movements, made of cut-up pieces, pasted, assembled, sowed parts that are alike and contrasted, and that I have named, for obvious reasons, the Frankenstein Symphony: an unusual electroacoustic adventure. Armed with a scalpel and a splicing (operational) block, I sampled several morphological organs from the the works of 22 composers and friends (many of whom were students of mine), and with their imprudent blessings (on a stormy night?), brought to life this little acoustic monster which I hold particularly close to my heart.” —FD [ii-97]
ASP 0978 / 1997
- Étiquette: Asphodel
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Notes de programme
Frankenstein Symphony est un méga-collage de Francis Dhomont fait à partir (en toute complicité) des œuvres suivantes:
- Alchimie de Pascale Trudel
- Aram Nal de Emmanuel Madan
- Attraction de Ned Bouhalassa
- Au delà de la porte de Claudia Tamayo
- Chambre interdite de Francis Dhomont
- Concept 2018957 de Louis Dufort
- Les corps éblouis de Christian Calon
- L’Entrevue de Yves Daoust
- Fils de chien de Monique Jean
- L’intérieur de Gaïa de Luc Fortin
- Itinéraire au Crépuscule de Michel Frigon
- Lorsque l’obscurité… de Alexandre Burton
- Métal de Annette Vande Gorne
- Novars de Francis Dhomont
- Ondes / Arborescences de Stéphane Roy
- Passage secret de Martin M Tétreault
- Qu’est-ce concert? de Mario Rodrigue
- Signé Dionysos de Francis Dhomont
- Spleen de Robert Normandeau
- Style de bougalou de Michel A Smith
- T’es le fun téléphone de Roxanne Turcotte
- Terre de Annette Vande Gorne
- Toccata de Yves Daoust
- Transport de Claude Schryer
- Traverser les grandes eaux de Daniel Leduc
- Le vertige inconnu de Gilles Gobeil
La presse en parle
MP, Vital, no 106, jeudi 4 décembre 1997I doubt if it will ever be surpassed in its excellence.
George Zahora, Splendid E-Zine, lundi 17 novembre 1997Suffice to say it’s amazing.
Certified hard chill for those with big maracas, the Frankenstein Symphony was constructed in true DJ-style by Francis Dhomont, an undisputed leader in electroacoustic music and an undeniable influence on so many working within this fjord. Franky (for it is he) sourced much from some of the best contemporary electroacoustic music to create this ‘hybrid thing in four movements.’ Works by 22 composers, some of whom are or were Dhomont’s students, were put onto the chopping block, sections were selected, severed and then spliced together with all of the frightening tools that science has made available. Some layering did occur, but Franky NEVER even got close to the racks of processing gear, LEDs blinking so invitingly, which probably line his living room, so no additional filtering, transpositions or internal editing was used.
Regular scanners of this screensheet may be aware of how close electroacoustic music lies to the heart of my ear. Many of the composers whose compositions were incorporated in this sublime CD are heroes of mine; Ned Bouhalassa, Annette Vande Gorne, Claude Schryer, Roxanne Turcotte, Yves Daoust, Stéphane Roy, Robert Normandeau and Mr Dhomont himself. Most of the composers’ works have appeared at one time or another on that very definitive Canadian label empreintes DIGITALes. A short while ago Asphodel released one of the best drone compilations ever titled, A Storm of Drones, a triple set, the first of which contained excerpts from works released on empreintes DIGITALes.
The idea behind this exciting, effective and most cunning stunt, the Frankenstein Symphony will no doubt now be copied by cats trying to be cool and even spooky; I doubt if it will ever be surpassed in its excellence.
Yes, this disc is full of music inspired by Mary Shelley’s famed novel — but not in the typical manner. Rather, the four pieces here have been assembled, à la Frankenstein’s creature, from bits and pieces of other, in this case musical, entities. To extend the metaphor somewhat, these newborn creations have a thoroughly different set of perceptions than music birthed by more conventional means. The works of 22 composers have been visited, sampled and juxtaposed here. The results are varied. Allegro the opener, is full of wet, mechanical noises interspersed with haunting, sustained harmonic tones; it later dips into a deep, dark cellar of doom, emerges into the evening air and drifts warily across the sonic landscape, interacting with the beings it finds there. Andante combines drumming, gamelan bells and other environmental sounds into a palpable island of intermittent mechanical serenity. Scherzo combines instruments, spoken words, city sounds and animal noises into a nightmare ballet of distended perceptions and misbegotten beings, dying slowly amidst birds and frogs. And the Finale is even more nerve-wracking, full of brilliant stereo imaging and sonic confrontations that defy description. I can no more do justice to these works within a few sentences than I can claim to truly appreciate the juxtaposition of artists, works and compositional statements. Longtime Splendid readers will notice some familiar names — Stéphane Roy, Robert Normandeau — among the source material, which is a nice bonus. But really, writing about this disc is like combining the pieces from a dozen jigsaw puzzles and trying to describe what you assemble. Suffice to say it’s amazing.