Review

Vito Camarretta, Chain DLK, June 25, 2013

When you peruse resumes like the one of this Montréal-based phenomenal wizard, who just attained a place in the catalogue of empreintes DIGITALes — maybe the most remarkable label in the field of electroacoustics and acousmatics at the moment —, you immediately foresee the consistency of a release with his signature: alumnus of Yves Daoust, André Fecteau and Robert Normandeau. Monsieur Bédard is teaching auditory perception, composition and analysis of electroacoustic music at the Conservatoire de musique de Montréal as well as electroacoustic compostion at Université de Montréal . On this collection of sonic marquetries he assembled in different moments, his hyperreality seems to be nourished by a selection of concrete noises whose attrition is a sort of runaround for Martin’s processing, but beside the impressively heady and somehow cinematic pelting and rendering of blasts, liquefactions, combustions and coalescences, which could vividly render fearsome train trips (Push & Pull), scorching meteoric darts (Grand dehors), frightening metallic landslips (Topographie de la noirceur), precipitous tumbles down to the hellish bowels of the ore bodies of the earth the main aspect of the creative / destructive elaboration (Métal fatigue) and dense swarms of drilling noises from excavation sites (Champs de fouilles), the properly dramatic element of each representation seems to be the inoculation of temporary breaks of piercing sounds, which almost mirrors the psychological whirls and craters, which follow such a pelting by emphasizing the inner sense and consciousness of Bédard’s topography.

… Montréal-based phenomenal wizard…

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