electrocd

Review

Massimo Ricci, Touching Extremes, February 15, 2004

Stéphane Roy’s new work is an evident homage to the history of concrete/electroacoustic music; at the same time the author uses his own past, remembering sounds and colours from the places where he’s been to adapt them in interesting webs of textures. Roy appears equally fond of instrumental and vocal sources; it’s not rare catching a “regular” human voice speaking or quoting literary segments amidst the torrential mass of timbral sleights of hand contained in Migrations. This way of composing is deliberately conflagrative, privileging changes upon changes of scenarios to the focused analysis of a single aspect. That’s not a defect—nay it’s probably the main feature of this Canadian artist’s aim, particularly evident in the last piece, the excellent Masques et parades where the contrast among many traits plays a major role in a perfect rendition of circus’ many moods and perspectives, as applied in everyday’s behavior.

This way of composing is deliberately conflagrative, privileging changes upon changes of scenarios…