Chris Yurkiw, Montreal Mirror, March 18, 1999

Electroacoustic music, or contemporary musique concrète, needs more practitioners like local Ned Bouhalassa, whose first commercial collection maps the evolution (1990-98) of a young composer straining to break free from the confines of an institutional music that allows everything in theory but usually ends up just sounding like theory (swoosh… whirr… crash!). What I really want to hear, though, is some of Bouhalassa’s latter-day delves into techno, hinted at here in 1997’s Constamment (autoportrait). (7/10)

Electroacoustic music […] needs more practitioners like Ned Bouhalassa