Francis Dhomont is releasing his 6th empreintes DIGITALes title, Jalons, a compendium of 8 works from 1985 to 2001. A “mini-panorama” that is more eclectic than the composer’s previous theme-based works, and a unique chance to hear works which have rarely been performed in concert.

Says Monique Jean of her first album, L’adieu au s.o.s.: “The works included on this disc were composed with eyes wide open, in the profound conviction that music is the expression of a sensibility anchored in the reality that makes us up, that determines who we are and that surrounds us.” Monique Jean is a composer working in close symbiosis with dance, video and media installation.

Frisches Wasser direkt von der Quelle, sauber, klar, natürlich. Den Klang dazu reproduzierte Natasha Barrett original und perfekt auf einem neuen Tonträger. Die ehemalige Studentin der britischen Elektroakustiklehrer Jonty Harrison und Denis Smalley verarbeitet in ihrem dritten Album norwegische Impressionen. Alles akustische Eindrücke aus der Natur, die ganz konkrete Erscheinungen benutzen. Selbst wenn das erste Stück “Three Fictions” heißt: Bezüge zu realen Klängen dringen immer wieder durch — Regen, Wind, Schneefall. Ihr Arbeit für NoTAM (Norsk nettverk for Teknologi, Akustikk og Musikk) in Norwegen ermöglichten exemplarische Klanginstallationen für das elektronische Medium.

Électroacoustique pour chorégraphies par un dingue de cinéma. Dans les premières pièces, de longs bruissements évoquent ce que l’on imaginerait volontiers être le son de la banquise qui se fissure, d’agréables clapottis générent des ambiances aquatiques et l’ensemble a quelque chose de littéralement organique. Si les compositions acousmatiques de Stephan Dunkelman sont souvent destinées à des concerts, quasiment toutes celles qui ont été retenues ici ont été créées pour des chorégraphies. Les sons, constamment en mouvement, y appellent cependant des images mentales bein au-delà de la seule danse. Avant que cet opus ne s’achève, cet ancien élève d’Annette Vande Gorne qui se dit inspiré par Tarkovsky et les Taviani place sa pièce la plus convaincante, résultat de son premier essai de création radiophonique sous forme de portrait d’une ville qu’il connaît bien: Bruxelles. Véritable dédale de sons de toutes sortes, cette composition enchaîne concret et instrumental selon des trajectoires où l’on prendra plaisir à flâner ou se perdre.

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.