Davis Ford, Etch, no. 5:1, January 1, 1999

Yves Daoust is a master of sound manipulation. In the beginning, a piano fights for space with itself. Two minutes in, there is a chaotic battle of notes involving the piano vs. that same piano, which ensues into a melee of bickering between the piano’s close relatives and finally, burst of white and pink noise which drive the piece into the new millennium. As the storms calms, the sounds of rain is introduced as a sort of closure. This 10-minute absorption follows with the familiar sound of a child’s swing-set. Daoust stretches the screeching hinges farther and farther out into a computer-generated piece which could pass for hypnotic robot-speak. Daoust’s strength lies in his ability to take found sounds and stretch them into a new, yet unheard environment. At the same time, artificial sounds emulate our daily environment. It is a dichotomy that proves exciting with every listen. The final piece, Fantaisie is created entirely from radio samples. The environment Daoust sculpts proves to be such on oxymoron, it is disturbing, yet equally enthralling. A distant piano rambling on, stuck in a decrementing timer, slowly winding themselves down, while other samples of otherworldly radio nature weave their way into the mix. Musiques naïves is perhaps the most exciting collection of found, and manipulated sound I have ever witnessed.

Yves Daoust is a master of sound manipulation.