Tom Wilms, L’entrepôt, March 10, 2001

Louis Dufort studied electroacoustic compositions in Montréal. Now he spend his time with composing for Marie Chouinard contemporary dance company, his work for the artistic committee of ACREQ, and the creation of hybrid and unbridled musical experimentation.

In meantime I’ve been looking in some literature, I can’t say that I know much about electroacoustics. So I’m now searching were it comes from or what intentions it have. Maybe someone can help me with some information (kriswilms@hotmail.com). It is my intention to write a little article about it.

Transit (1998), the first composition on Connexion, is described by Louis Dufort as: “A work that makes use of continuous discontinuity.” What is the meaning of something like that? It has something to do with discontinuity: the structure seams to be irrational. So the structure is discontinue. There has to be continuity in this discontinue structure: same sounds come always back, always manipulated in other ways. Lather on there also come voices in the composition.

Pointe-aux-Trembles (1996) is rather a gentle piece, where the stress is on silence or something that seems to be silences.

Zénith (1999): ‘the formal expansion of form’ as Louis Dufort describes it, seems more organic than for example Transit.

There is a smooth Décap (2000), a composition for the composition ‘Le cri du monde’ of Marie Chouinard (more exactly ‘A study for wrists and ankles’) is a much more aggressive piece that in his heaviness sometimes reminds on the John Zorn project ‘God.’ In the piece, drum’n bass seems to be an important influence.

… hybrid and unbridled musical experimentation…