Listen as snapshot vocals collide with dank rhythms, building up to a sudden silence that’s all sudder and awe. — Disquiet, USA
Camp socialiste no 1 (Montréal), by David Turgeon, is a modular composition for prepared CDs. Performed in solo as well as in groups of 2 to 5 participants, it is the founding project of the Ensemble Camp, a band devoted exclusively to the composition and performance of works for prepared CDs.
Invited by the Résonances festival, held annually in Saint-Nazaire (France), David Turgeon composed in situ a companion piece: Camp socialiste no 2 (Saint-Nazaire).
In concert at the Chapelle des Franciscains, on May 23, 2004, Ensemble Camp (David Turgeon and A_dontigny with guests Érick d’Orion, Christophe Havard, and Hughes Germain) presented the two works of the Camp socialiste cycle, in addition to another premiere by Turgeon, Évocation de la jeune artiste en déesse des apparences, inspired by R Murray Schafer’s string quartets.
- No Type (web)
- NT 087 / 2006
This item can be downloaded and/or listened to at notype.com.
- 1prepared CD players and sound source
Live à Résonances
In the press
Marc Weidenbaum, Disquiet, March 8, 2006Listen as snapshot vocals collide with dank rhythms, building up to a sudden silence that’s all sudder and awe.
Late last month, the No Type label reappeared following an extended absence with not one but six new releases, the immediate highlight being a tribute to musique concrete figure Francis Dhomont. Also among the releases was a three-track document of a live prepared-CD performance by Ensemble Camp, a group effort led by David Turgeon and also featuring A_dontigny, Érick d’Orion, Christophe Havard and Hughes Germain. While the audio has that distant quality of second — and third — hand sound, the montages that Ensemble Camp produces are probably enabled by the slight echo, which allows the disparate sonic elements, considerable in their range, to overlap and meld. Listen as snapshot vocals collide with dank rhythms, building up to a sudden silence that’s all sudder and awe. The first two tracks deal with elements associated with pop and industrial music, all beats and melodic cues. But the final one, Évocation de la jeune artiste en déesse des apparences, is built almost entirely from string sections of orchestral and chamber CDs, cut’n’pasted into a dense arrangement for an imaginary symphony.