Brian Duguid, Electric Shock Treatment (EST), no. 6, March 1, 1995

The title of Paul Dolden’s first CD, The Threshold of Deafening Silence says a lot about the method and aims of this Canadian electroacoustic composer. As does the title of this new release (it translates as “Intoxication by Speed.” All Dolden’s pieces use mainly acoustic instruments, with in several cases several hundred separate instrumental parts painstakingly multitracked and mixed. The result is music of overpowering density, great contrast and frequently startling and fascinating texture. Several of the cornpositions are for thesed taped instruments only. Others use the impenetrable tapes as backing for solo instrumentalists. For example, Peggy Lee’s cello on Physics of Seduction. Invocation #3 highlights extremes of romanticism and potency, throwing the tape scrum into sharp relief. Dolden’s aim is to bring the listener to a point where the complexity and intensity of the music prevents any orthodox listening response, resulting in a transcendent sensual experience. The admirable CD booklet includes plerity of provocative and thoughtful notes from the composer, but even without the points of entry that it provides, I could hardly fail to be seduced by this astounding album. For anyone who wans to hear new music that doesn’t lack in passion, that addresses the information age in an apt way, that enlists noise, complexity and beauty in its qufft for excess, this is it. There are few other composers whose music even seeks out such awe-inspiring power (Glenn Branca, possibly, although Xenakis also comes to mind), and few other modern composers who can be so effortlessly assured of a place in history.

… few other modern composers who can be so effortlessly assured of a place in history.