Massimo Ricci, Touching Extremes, March 1, 2007

The psychological field investigated by Pierre Alexandre Tremblay is often perturbed by offhand extensions of the usual meanings of acoustic events. The tracks of Alter ego present several variables and a few guidelines in which more or less ‘familiar’ sounds, such as Formula One roaring engines or a rapper’s performance, are exploited to their full extent but, at the same time, completely modified in their essence. Those sounds, thanks to Tremblay’s studio treatment, behave like small parts of a giant mechanism, yet there is no shortage of emotions in this excellent work; the most involving segments include several tension/release artifices that colour the music with exciting textures and unpredictable relationships. Except for a couple of instances in which vocal utterances determine dramatic — make that ‘traumatic’ — insurgences of nervousness, the large part of this full hour of ultra-variable structures is quite suggestive and it will probably resound sympathetically with the average cognitive predisposition of most listeners, possibly including the less used to this kind of experimentation. As a sort of conclusive signature, the final track (la cloche fêlée) features fabulously reworked/expanded bell shades which eschew the traps of acousmatic commonplace, evoking the ‘spirit of the metal’ as a substantial, engrossing aura that lingers on even after the record is over.

… there is no shortage of emotions in this excellent work…