Next Arturo Parra: this is a guitarist’s view on acousmatic music. I really think that this is the most adventurous of the three releases. The cooperation between musical instrument and tape/computer is difficult because you can identify the instrument from the other sounds, which so easily results in a relation instrument-backdrop. And in a live setting there is the discrepancy between the sound source of the acoustic instrument and the sound from the speakers which separates the two even more. Parra somehow managed to create a very nice balance, though. Parra commissioned works from five composers: Gobeil, Roy, Dhomont, Mauricio Bejarano and Normandeau. These compositions were each the basis for a composition of Parra. So the acousmatic composers didn’t know what Parra was going to do with their piece and Parra composed the guitar on top of what was already there. That is interesting because the guitar is the least versatile instrument here and yet it has to interact with the most versatile abstract noises. Also interesting to know is that the guitar was recorded without any overdubs. In some cases the guitar is tormented and played in extraordinary way but you can also hear melodies, which is quite unusual in an empreintes DIGITALes release. The result is a very dynamic and intense cooperation, very much worth listening to. I most liked the Dhomont cooperation. This “éminence grise” of the acousmatic society never misses a beat.