Today February 27 is the birthday of:
More recent and upcoming birthdays:
Another fresh one released via Montréal’s Empreintes Digitales label is Oscillations planétaires, the first ever solo album by Chantal Dumas. Created as a commissioned work for German radio programme Deutschlandfunk Kultur we see Dumas tackle the topic of geology with this one, especially the topic of geologic and tectonic movements and vibrations happening in different, mostly irregular, time scales to be more precise. Facing this task the result is an oftentimes sparse and spatial, partially also large scale dramatic journey through Dark Ambient and Ambient, at times surely influenced by Cosmic and (Neo)Cosmic as well as misty ethereal, outerworldy harmonic shifts and movements, subsurface crackles, grinding mass movements, subaquatic modular noises, haunting sweeps and more, all in their entirety sonically depicting the steady geologic processes having shaped the face of our planet for eons and still continually, yet slowly shaping its face up to this day. Our favorite cut: Marée crustale. File under: conceptualism in full effect.
Released only recently via the 1990-established imprint Empreintes Digitales is L’inaudible, the third full lenght album effort by Montréal-based composer Stéphane Roy. Working on the acousmatic side of things we see Roy presenting a selection of seven pieces on this longplayer, all created within the past twelve years with some being finished in multiple sessions spread over several years. Opening with Maelström the first step of the musical journey is a twisted, whirling and grinding piece built from cold digital Noize eruptions regularly, yet irregularly bending, twisting and interrupting tender, and partly dramatic, Ambient atmospheres in a collage’esque manner whereas the Train d’enfer brings tension in form of dark, brooding atmospheres and various scraping, clanging metal pieces before the subsequent triplet of “Section 1 — 3” provides a perfectly intense, nerve-wrecking score of sorts for your favorite underground psycho horror flic out of the 60s or 70s. Les aurores pourpres first sees Stéphane Roy on a fragile, ethereal Deep Listening Music tip, slowly progressing from a minimalist approach into large scale drama with hefty sonic masses grinding and shifting within the stereo field before making way for spatial sparseness once again, Les territoires secrets caters cold, quivering and somewhat retrofuturist Ambient pulses which are evoking echoes of memories of very early Oval works and other intense, experimental Deep Listening adventures of the late 90s alongside various background rumblings, sounds of pouring liquids and short percussive eruptions before the final cut named Voies crépusculaires ventures off into solemn Dark Ambient territories with a certain cut-up twist paired with (Neo)Classical influences to provide a closing for a well meandering, varied and close to indescribable journey into one of the most experimental spheres of the electronic music scene in terms of compositional approach.