Re: This One's For Miles


Subject: Re: This One's For Miles
From: Ian Chuprun (ianc@sympatico.ca)
Date: Mon Nov 08 1999 - 13:01:59 EST


What follows is a severly edited version of the latest Splendid. Two reviews...

Ian

Splendid E-Zine wrote:

> SPLENDID...Week of November 8, 1999
>
> Soundclips from all artists, as well as label contact
> information (where available), can be found on the Splendid
> website: http://www.splendidezine.com/reviews/nov-8-99/
>
> Much of the music reviewed here can be purchased from
> Insound -- http://www.insound.com/index.cfm?from=14288
>
>
> Robert Normandeau / Lieux inouï / empreintes DIGITALes (CD)
>
> Last week George reviewed a CD of Normandeau's recent
> compositions. This week we take a peek into his past with
> Lieux inouïs (Unheard-of places), a CD of five electronic
> works from the mid-to-late 1980s. Much of Normandeau's music
> falls into the "acousmatic" genre. Roughly, acousmatic music
> is electronic music that seperates sounds from their
> sources, and often exploits sounds for their inherently
> interesting qualities rather than any symbolic or narrative
> meaning they might have. In Normandeau's sound-world this
> means that we're treated to a wide range of sounds, from
> processed choirs to chugging trains to bleep-bloop
> electronics to slamming doors and bouncing balls.
>
> "Rumeurs" (Rumors) is a light, fluid piece that plays with
> organic sounds that are just on the edge of recognizability.
> "Matrechka" is full of darker and more electronic sounds,
> which are constantly evolving. "Mémoires Vives" takes
> existing requiems (from Ockegham, Gilles, Berlioz, Mozart,
> etc.) as its starting point, and subtly weaves them into an
> ethereal, mysterious new requiem. "Jeu" (game or play)
> explores some of the many uses of the french word "Jeu".
> It's similar to "Rumeurs" in that it's a mix of many
> recorded sounds presented in such a way that you're never
> quite sure what you're listening to. The final piece, "Le
> Cap de la Tourmente" is again darkly electronic -- I imagine
> it as the sound of someone pounding slowly on a huge
> electronic metal barrel.
>
> Normandeau has a very good ear for finding interesting
> sounds and then figuring out how to combine them
> effectively, and the compositions on this CD never get
> bogged down in the electro-murkiness or
> loooooooooooooooooong time scales that sometimes turn people
> off to this sort of electronic music. It's a fine disc pour
> le novice ou l'expert. -- Irving Bellemead
>
>
> ******************************************************
> AT A GLANCE (our weekly collection of shorter reviews)
> ******************************************************
>
> Roxanne Turcotte / Amore! / empreintes DIGITALes (CD)
>
> Turcotte spins an impressionistic love story with voices,
> sound effects, samples and rhythms, based upon Roland
> Barthes' book A Lover's Discourse. Newcomers to
> electroacoustic music may find Amore particularly appealing;
> it uses many identifiable, untreated "real world" sounds and
> employs a more structured, linear narrative than other
> empreintes DIGITALes releases, grounding even its most
> experimental moments in comforting familiarity. It's still a
> lot of fun -- especially the conversational "T'es le fun
> telephone." -- gz
>

  -- --

Ian Chuprun
ianc@sympatico.ca

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A propos de la: / Regarding the:
Communaute electroacoustique canadienne (CEC)
Canadian Electroacoustic Community (CEC)

http://cec.concordia.ca
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A propos de l': / Regarding the:
Université Concordia University

http://music.concordia.ca
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