Animato da una dissarcratoria vena dada, minata in parte da un’impostazone accademica, il canadese francofono Tremblay prende spunto dal suono alcuni status symbol come l’automobile (Vroum), il telefono («… Ceci est un message enregistré…») e il denaro (L’argent… toujours l’argent!), per dare vita a grumi di rumore organizzato, Altra traccia di spessore è poi Cowboy Fiction dove, ispirandosi ai westem dei ‘50, viene, posta in risalto la contraddizione fra fantasie libertarie e realtà imperialiste insite all’epopea del far west: le fonti sonore utilizzate provengono dalle coIonne sonore di El Dorado e Searchers, da una versione del classico Rambling Man di Hank Williams e dal linguaggio di locomotive e fucili (ad ogni epoca i propri status symbol). La copertina in perfetto stile warholiano, con il nostro intento a dirigere una pletora di carabatole, prometteva comunque maggiori sfaceli. (6/7)

Affascinante lavoro da parte di questo trentequattrenne tedesco di Weimar: rielaborazioni via computer di suoni concreti, strumenti vari e voci, Il disegno di Tutschku è comunque anomalo in quanto inizia sovente dal magma manipolato per mettere a fuoco le fonti originarie solo in ultima battuta. Un’opera di scomposizione, rimontaggio e dilatazione del suono calata nelle tenebre — Sieben Stufen utilizza un testo di Georg Trakl, lo stesso poeta maledetto che gli Étant donnés e Michael Gira rivisitarono in Offenbanung Und Unterqang — anche quando, in Extrémités lointaines vengono usate registrazioni prese in città, chiese e templi del Sud Est Asiatico, Oppure quando il poeta spagnolo Antonio Bueno Tubia recita di persona, in … erinnerung…, il proprio testo Yo os io aseguro…’. Nel passato di Tutschku, motivo di garanzia, anche un tirocio per studiare la diffusione del suono effettuato presso Stockhausen. (6/7)

Normandeau freely admits to having been influenced by various other music forms including rock; these influences are obviously audible in most of his works. For example his piece Venture, which was created in 1996, uses as its sole source material the music of Jimi Hendrix, Led Zeppelin, Pink Floyd and other rock artists. Certain pieces on Tangram share some of the common elements which can be derived from rock music, i.e. long determined passages and repetitive rhythms.

Tangram’s first track Bédé (1990) uses onomatopoeia through the voice of eleven–year–old Marie–Helene Blain. The effect is of children giggling, whispering and conspiring together in an ethereal world, tentatively touching the real world like Alice Through the Looking–Glass. Was Charles Lutwidge Dodgson listening to this when he wrote about Alice? Éclats de voix (1991), also uses onomatopoeia through its spoken passage: various sections lead us through processed effects; ghostly mutterings and industrial sound textures which lend a sadness and emptiness to a spectral score, introducing the listener to an elaborate sound world. Spleen (1993), for which the composer was awarded the Main Prize at the Musica Nova 95 International Competition held in Prague, is full of tension built up through a percussive heartbeat, but there is an underlying irritability in the piece like the weariness a traveller may feel at journeys end. An undoubtedly complex work. Track 4 Tropes (1991) contains excerpts from Mozart’s chamber works. Beyond the treated piano and orchestral soundscapes lies a delicate inner core. Normandeau appears to dissect and then reassemble Mozarts music whilst still maintaining the original composers subtle creation of character. The title track Tangram (1992) is at 27:05 minutes — the longest piece on the disc. This powerful piece strains to give birth to the perfect Chinese Tangram, a seven piece geometrical form, finally emerging into fluidity and composure.

Robert Normandeau’s Cinema for the Ear aesthetic lends to his work a depth where meaning, sound and music become one. Either composition on this disc could be placed into a film script, these are soundtracks for the mind, very filmic in structure, and will therefore affect each listener differently creating a personal imaginary element.

I first bought the CD and listened to these compositional works in 1994, found it excellent then and I still find it drives my imagination in the year 2000.

“Noise is the child of chaos. It confronts us daily and can come to symbolize all that is accidental in life.” È questa la frase che più mi ha colpito nel libretto che accompagna Bruit-graffiti del compositore elettroacustico Marc Tremblay. Se invece vogliamo presentare quello che è l’aspetto più “sentimentale” dell’intera faccenda, sempre secondo il musicista canadese, è interessante porre in risalto un’altra citazione: “I love to discover the poetry in the noise that surrounds us.” L’atmosfera che permea le composizioni (registrate in un arco temporale che va dal 1990 al 1997) è impregnata di umori rumoristi, ma nonostante il “bruit” che campeggia nel titolo non dovete aspettarvi un fragoroso assalto alla Sutcliffe Jugend, quanto piuttosto una minuziosa ricerca su oggetti della quotidianità che producono, consapevolmente o meno, rumore e che sono stati utilizzati da Tremblay per mettere insieme una disparata varietà di suoni concreti a tema; infatti ciascuno dei sei pezzi ruota attorno a un argomento specifico (l’automobile, il telefono, le monete, ecc.). Annotazioni finali: 1) il disco è stato registrato con il supporto del Canada Council for the Arts 2) Résidus (clip dadaïste) è puro trash da gabinetto (ascoltate e capirete!!!).

Probably the most fertile grounds for contemporary electroaoustic (experimental sound collage) composition is in eastern Ontario. From there you will find a wholly new aural universe in [empreintes DIGITALes]. Recent releases on the label include Moment by Hans Tutschku and Corazón Road by Kristoff K.Roll. One of Tutschku’s pieces is a travelogue of Southeast Asia through sonic collage of field recordings. Another piece is the transformed words of a poem. In a setting of haunting, industrial sounds like distant machines the effect is quite mysterious. Corazón Road is another peculiar travelogue. This is a road diary of Kristoff K.Roll’s journeys through Central America. Snatches of conversation and the mystique of lonely roads marks this album.

Pretty much anyone with a functioning cochlea will find something to like on this massive collection of recent electroacoustic works from the Canadian Electroacoustic Community (Communauté électroacoustique canadienne). 34 pieces from 32 composers in 11 countries can seem a bit daunting at first, but a taste for surprising sounds and liberal use of your CD player’s fast-forward and skip-track buttons will get you through. And you’ll be the better for the journey!

The packaging for this two CD set is a bit odd — the discs don’t really fit in the sleeve, and the large booklet is at odds with its container. The cover image is nice, though. The booklet, written in English and French, is thorough and useful, with a brief introduction to the CDs and composer-written notes for each of the pieces.

It would be difficult to put together 34 different pieces of music and not be struck by how different they are (although Short Music for Short People managed pretty well!). Still, it’s worth mentioning that regardless of your preconceptions of the CEC/acousmatic scene (you do have preconceptions, don’t you? Heathen.), these discs represent an impressive range of styles, sounds and techniques, all within the rough boundaries of the acousmatic genre. That means there’s no punk rock or dance music here, although several of the pieces do get pretty grungy and/or rhythmic.

A few semi-randomly picked highlights:

Adrian Moore’s Soundbodies: Bodypart (1998) is full of suggestive, out-of-body voices, zipping around like jacked up goblins. Antti Saario’s B-Side (1998) manages to be both funky and mysterious. Au-delà du miroir (1998) by Daniel Zimbaldo is a long, lovely arch. Steve Bradley’s “volalle melodie vi to trot” / “fowl melody to trot” (1999) is a strange, crackling collage of voices and fuzz. DUO (1997-98) by jef chippewa is a balloonaphobe’s nightmare. Gordon Fitzell’s Zipper Music II (1998) is just as much fun as its name implies.

Although a few of the pieces here are a bit too acousmatic for my taste (a ball rolls, a door slams, a baby cries, a train toots), this really is an impressive, listenable collection of electronic music. If you’ve been wondering what this “electroacoustic” thing that you keep hearing about is, or if you’re just looking to add a chunk of contemporary electronic music to your collection, then Presence II would be a fine place to start.