Yegl Elsa Justel

… this is certainly a great CD. Vital, Netherlands

Très fortement recommandé. SilenceAndSound, France

Stereo

  • 44,1 kHz, 16 bits

Stereo

  • 44,1 kHz, 16 bits
  • 48 kHz, 24 bits

• MP3 • OGG • FLAC

Yegl

Elsa Justel

Some recommended items

In the press

  • Frans de Waard, Vital, no. 1205, October 14, 2019
    … this is certainly a great CD.
  • Roland Torres, SilenceAndSound, October 8, 2019
    Très fortement recommandé.
  • Massimiliano Busti, Blow Up, no. 257, October 1, 2019
    7/8
  • Rigobert Dittmann, Bad Alchemy, no. 103, October 1, 2019
  • TJ Norris, Toneshift, September 30, 2019
    … dizzying works of grandeur.

Review

Frans de Waard, Vital, no. 1205, October 14, 2019

For every new release by Empreintes Digitales one can find biographical notes and information on the pieces on the cover. They have been using the same carton sleeve for many years now. I learned from the cover here that Justel is from Argentina and she lives in France, where she teaches ’new composition techniques’ and electro-acoustic music. Over the years several of her pieces have won prestigious prizes. It seems, perhaps, the sort of career that many composers featured on this label. There are seven pieces on this CD, the oldest from 2001 and the most recent from 2017. These pieces are a fine showcase of her interests in working with electro-acoustic sounds. In such a piece as Marelle ou Les instants de la vie, these sounds a very much obscured and unknown to the listener, whereas in La radio, ça détend, there is short and vivid cut-up of radio sounds. In L she uses quotes from Serres, Eco, Von Franz and in Purzelbäume, she works with a tango rhythm and sound, which has a beautiful estranging effect. It is a brief piece, but it works well for me. I didn’t understand why she used the computer warning sounds in two different pieces, as the first time it is quite refreshing to hear it on such an otherwise serious release, but the second time, you think, ’oh, again?’ even when it is only once in a twelve-minute piece of music. I really enjoyed a few pieces, such as the aforementioned Purzelbäume, the quiet intensity of of the opening piece, Cercles et surfaces, the radio piece, the classic electro-acoustic approach of Tapage nocturne, but was less fond of the title piece (the last one of this release, or L; perhaps because of all the French in this piece, which didn’t made it very easy for me. As an introduction to Elsa Justel, this is certainly a great CD.

… this is certainly a great CD.

Critique

Roland Torres, SilenceAndSound, October 8, 2019

Yegl est un recueil de travaux réalisés par l’artiste Elsa Justel, entre 2002 et 2017 via le label empreintes DIGITALes, dont le travail de fond dans le milieu de l’électro-acoustique est une véritable mine aux diamants.

Multiprimée, Elsa Justel manie les bribes sonores avec volupté, alternant phases expérimentales hachées, field recordings habiles et enregistrements divers, parfois teintés avec une certaine dose d’humour.

Les titres se promènent sur des zones caillouteuses, où les débris assemblés évoquent des paysages escarpés traversés de personnages cartoonesques ou d’abstraction intellectuelle.

Yegl démontre la capacité de l’Argentine, installée en France, à construire des aventures musicales riches en textures et en suggestions spatiales, bâtissant des narrations surprenantes teintées de sensations bousculées prêtes à basculer. Très fortement recommandé.

Très fortement recommandé.

Review

TJ Norris, Toneshift, September 30, 2019

Based in France, Argentinian composer Elsa Justel has been developing new sound work since the 1980’s. Her latest on the reputable empreintes DIGITALes imprint is Yegl, which focuses on her projects between 2002-2017. Her work included are electro-acoustic journeys, radiophonic work and fixed medium. And her medium offers little to no tedium, instead these wonderous pieces feel to be tactile storytelling of sorts. Pockets of silences, vocal cut-ups, funky breaks, dripping waters, cling-clang, symphonic interruptions, radio narration and remote instrumentation – all make for dizzying works of grandeur. Yes make sure you are sitting down, may I recommend undulating on a settee or chaise, sprawl out and stretch – as does what you are hearing. Sounds for sore ears.

… dizzying works of grandeur.

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