L’Oreille Voit
The first album by the Toronto composer Randall Smith: five tape works from 1988 to 1994, from water music made without any water to The Black Museum, his tribute to the GRM, first prize at the Luigi Russolo competition in 1993.
Délires de Plaisirs
Paul Dolden's 49-minute Entropic Twilights, layered from hundreds of separately recorded parts for voices, brass, gamelan, drum kits and saucepans, with two Resonance pieces for flute and for ten string parts and tape, made between 1994 and 2004.
Aérosol
Five acousmatic works by Ned Bouhalassa from 1990 to 1998 tracing his move from cinema for the ear towards techno, from Jets, written for San Francisco’s Sound Traffic Control, to the self-portrait Constamment and the Russolo prizewinner Attraction.
L’Adieu au S.O.S.
Four works by Monique Jean from 1997 to 2001 on destruction, memory and the real, with texts by Hélène Cixous, Alejo Carpentier and Denise Desautels, contrabass improvisations by Joëlle Léandre and, in low memory #2, flutist Claire Marchand.
Impulsion
The tape works of Québec composer Micheline Coulombe Saint-Marcoux, made between 1970 and 1981 at the GRM in Paris, in Bourges and at Simon Fraser University, from the vocal vertigo of Arksalalartôq to the eighteen-minute Constellation I.
Bruit-Graffiti
Six tape works by Marc Tremblay from 1989 to 1998 that find music in everyday noise: cars, telephones, washrooms, the Montréal Stock Exchange and the soundtracks of El Dorado and The Searchers, remixed in Bourges for Cowboy Fiction.
Connexion
Four acousmatic works by Louis Dufort from 1996 to 2000, from night recordings on Mont-Royal and the refineries of east-end Montréal to Décap, partly drawn from his music for Compagnie Marie Chouinard and mentioned at Ars Electronica 2001.
Évidence Matérielle
Five acousmatic works by Jonty Harrison from 1982 to 1999, built from casserole dishes, packing materials, splintering wood and water, including the Euphonie d’or winner Klang and his first multichannel tape piece, Streams.
La Limite du Bruit
Five acousmatic works by John Young from 1995 to 2001, each grown from one intimate or environmental sound: hands, a single breath, wind across two microphones, a childhood swing and rain falling on leaves, windows and puddles.
Aparanthesi
Two versions of John Oswald's one-note composition from 2000-03, built entirely on the pitch A in its ten audible octaves, with a tuned prairie thunderstorm, tuned birds, a Disklavier piano and the cello of Joan Jeanrenaud. CD-R.
Transformations
Five soundscape compositions by Hildegard Westerkamp from 1979 to 1992, among them Kits Beach Soundwalk and Beneath the Forest Floor, recorded on Vancouver streets, a Mexican desert and old-growth forest on Vancouver Island, with hornist Brian G’froe…
Paysages Planétaires
Paysages Planétaires on Alga Marghen may be the great unrecognized masterpiece of ethno-electroacoustic music, a 3CD box that arrived in 2004 with almost no fanfare and has waited two decades for ears ready to hear it. Henri Pousseur and Michel Butor…
Moment
Hans Tutschku’s first empreintes DIGITALes portrait: five works from 1991 to 1998 built on voice and speech, from poems by Georg Trakl, Karl Lubomirski and Antonio Bueno Tubía to recordings from a 1997 Asian tour in extrémités lointaines.
… dans le Silence de la Nuit…
Four acousmatic works by Gilles Gobeil from 1995 to 2001, cinema for the ear drawn from literature and travel: Proust’s Swann’s Way read by Marc Béland, H.G. Wells’s time machine, Jules Verne’s underworld and sounds from a trip to Italy.
Jalons
Eight acousmatic works by Francis Dhomont spanning fifteen years, from his only purely electronic piece of 1985-86 to Lettre de Sarajevo and the swallows of Vol d’Arondes, several of them prizewinners. Disque de l’année at the Prix Opus 2002-03.
Cycle du Son
Francis Dhomont's four-part homage to Pierre Schaeffer and fifty years of musique concrète (1989-98), built from the first movement of the Étude aux objets, with Machaut, Pierre Henry's door and a list of “inventors of the treasure” along the way.
Drone Hill 225
"South of a disused caravan site (elevation 225) and north of a sheep wash (elevation 238) is a point where electrified wires descend from a hilltop and meet. Mr Harrison has been recording at this focus in varying weather conditions over several yea…
Sources / Scènes
Four acousmatic works by Denis Smalley from 1974 to 2000, each grown from one sound source: Derek Shiel's metal sculptures, air in Cretan garden pots, two water recordings, and the drone of Northumbrian pipes in the early GRM piece Pentes.
Rendu Visible
Three works by Darren Copeland from 1993 to 1996 built on real-world sound, including Night Camera, whose three scenes unfold inside recordings from the World Soundscape Collection at Simon Fraser University.
Perdu et Retrouvé
Eight fixed-medium works by Darren Copeland from 1991 to 2003, tied by the tension between losing and finding: a CNN eyewitness account of 9/11, the voices of Marconi and Eckersly, a 36-hour train route from London to Moscow. DVD-Audio.