[…] (Deschênes) can shape any and all sounds exactly to match whatever form or phrase she envisions. Her compositions are truly expressive of human emotions rather than being explorations of sound, and she avoids the common pitfall of creating dizzying configurations in surround sound, despite the context of the early of-art images used in works like Écran Humain (with Paul Saint-Jean) and Lux (with Renée Bourassa). […]