Review

Mark Vail, Keyboard, no. 16:9, September 1, 1990

For the first few seconds of Normandeau’s Jeu, he seems to take a more familiar, “musical” approach by leading off with a choral drone. It gradually mutates, however, with an overdose of stereo-crossed amplitude modulation that kicks your head into orbit. Normandeau works digitally with musique concrète techniques, using processed and “found” train, bell, gunshot, playground, and street noises, which he stretches into unidentifiable mutations or surrounds with surrealistic environments. His music is generally more rhythmic than Calon’s, and he seems to enjoy shocking the listener with unexpected sonic events.

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