Alibi is Jacques Tremblay’s first solo CD. It culls six tape music works created between 1990 and 1995. Except for the three-minute Jeu d’ondes, all pieces are lengthy and divided in multiple movements. Tremblay’s main source of inspiration is psychoanalysis. A quote from Carl Gustav Jung underpins Hérésie ou les bas-reliefs du dogme (“Heresy or Dogma’s Bas-Reliefs”). In this long, complex piece, the composer accumulates quotes about various historical events, all related to Man acting on the behalf of God (i.e. using religion as a moral motor or excuse). The facts are presented pseudo-objectively; Tremblay’s commentary is inscribed in the sonic movements. Oaristys and L’intrus au chapeau de spleen both play on the unconscious, suggesting eroticism in the first case and an initiatory journey in the second. Both pieces’ dramatic tension resides in the unsaid. In comparison, La robe nue and Rictus nocturne sound a little thin, even though the second takes jazz for subject. But the promised “jam session” never materializes. There is something of Francis Dhomont’s art in Tremblay’s music, his ability to toy with the subconscious; but while Dhomont actualizes his fascination with psychoanalysis in storytelling, Tremblay remains stuck in the evanescent. His works evoke many things, but the listener comes out of them without a lasting impression. Nevertheless, Alibi makes a good album of “classic” electroacoustic music.