Thick combinations of electroacoustic sound created using the guitar as a source. The work correspond to very different time intervals, since they unfold from 1987 to ’94. The sound is displayed in murmurs of granular texture representing internal states that are expressed and alternate in progressions of shocking dynamic splits.

Calon’s compositive technique defines itself as a metamorphosis of resources extracted from a single element; i.e. electric guitar. The transformation of sounds causes the emergense of a timbric morass orquestated in irregular and abstract masses that eliminate themselves by their own timbric feedback.

A compilation dating from different periods. 1990 to 1998, it brings us a narrative product wich defines scenes intimately spaced along dynamics and interactive corridors that promote the creation of images wich are interrupted by rythmic motives or silences. The intervals that separate the recording dates link or keep apart aesthetic configurations of contrasting making.

Double CD wich compiles works dating from 1984-85, such as Veils, to other pieces realized in 1993. The electroacoustic work of this composer stylistically creates a world in wich sound masses linked to crescendi tensions turn into dissolving zigzagging dissonance. As a dynamic interactive tingle leading to sonic novelties, his mixing technique determines the timbric quality of the instrument.

Tangram presents five parts which, virtually all of them, could define themselves as conceptually dreamlike or as music for visualizing. Althought all of them are different in the valuation and selection of sounds they have in common electronic flow avalanches in constant relation to certain vocals stains intermingled in bundles of strings and silence intended gaps.

This work comprises four parts dating from 1994 to 1997 and, according to Leduc himself, they define an important technical and aesthetic transition in his artistry. We observe a soundscape wich coexists with speech in a Tarkovsky: un mundo sonoro adentrado en sí mismo de tal fortma que lo narrado absorve o escupe su propio sonido aproplándose de un carácter relevante para un fondo difuminado e inerte.