This work is the soundtrack for the video The Lighthouse (third work of the Theseus triptych) by Khrystell E Burlin.

Loops of filtered noise, synthesizer textures, urban samples. Horse hoof rhythms, creaking doors, a bell — all bring a kind of welcoming tension. Drum and bass sounds, breakbeats, crackling smackdowns push the tempo, very urban; my version of the city’s pulse.

Radio whispers from an old war as the city traffic chaos becomes symphonic. Barely-held-together melodic fragments drown in a sea of raw noise. The ocean, now light, blinding in the end.

[viii-08]

The Lighthouse was realized in 2005 at the composer’s studio (soundtrack) and the video artist’s studio (video) and premiered on December 10, 2005 during Akousma (2), presented by Réseaux at Espace Go in Montréal. The piece was commissioned by Réseaux des arts médiatiques, with support from the Canada Council for the Arts (CCA).

Composition

• 2005, Personal studio, Montréal (Québec)
• 2005, video: Khrystell E Burlin • Personal studio, London (England, UK)

Premiere

• December 10, 2005, Akousma (2): Rhapsodie urbaine, Espace Go, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

This is a work where I explore urban spaces in Montreal, Las Vegas, and Berlin — 3 very different cities, with truly unique soundscapes. I gathered many recordings of spoken phrases, and used them as natural reference points for the listener. Cars are everywhere in these cities: a continuous drone in the background or right in front of my microphones, ready to roll.

While I have incorporated sampled drums and loops in my electroacoustic music for many years, with this piece I wanted to collaborate with two talented musicians from Montréal. Christian Olsen’s drumming is both explosive and subtle, while Delphine Measroch, who is also a composer, transforms the sound of her cello into a metro turnstile, a cricket, a hovercraft.

[viii-08]

Urban Cuts was realized in 2005 at the composer’s studio and premiered [fixed-media original version] on November 19, 2005 in Berlin (Germany). An initial 15-minute version entitled Espaces urbains 1: Las Vegas — Montréal — Berlin was presented on May 14, 2005 during the Elektra festival at Usine C, Montréal. This mixed version (for cello, drums, and tape) premiered on December 10, 2005 during the Akousma (2) festival presented by Réseaux at Espace GO in Montréal. Urban Cuts was commissioned by Sabine Breitsameter of the Akademie der Künste, Berlin (Germany), with support from the Conseil des arts et des lettres du Québec (CALQ), and Andreas Hagelüken of RBB/Klanggalerie. Thanks to Brenda Keesal, Fortner Anderson (recorded voice), Sabine Breitsameter, Andreas Hagelüken, Michael Rüsenberg, Carla Spies, Bernard Schütze; programers: Rick Scott (rachMiel), Colin Fraser (Biomechanoid).

Composition

• 2005, Personal studio, Montréal (Québec)

Revision

• November – December 2005, Personal studio, Montréal (Québec)

Premiere

• November 19, 2005, Premiere of the original fixed medium version: Concert, Akademie der Künste — Hanseatenweg, Berlin (Germany)
• December 10, 2005, Premiere of the mixed version: Delphine Measroch, cello; Christian Olsen, drum • Akousma (2): Rhapsodie urbaine, Espace Go, Montréal (Québec)

About this sound recording

This recording was realized on February 26 & 28, 2007 at Studio Sygma in Montréal by Alain Girard and mixed at the composer’s studio.

Recording

• February 26, 2007, Alain Girard • Studio Sygma, Montréal (Québec)
• February 28, 2007, Alain Girard • Studio Sygma, Montréal (Québec)

Mixing

• Personal studio, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Performers

• Delphine Measroch, cello
• Christian Olsen, drum set
• Fortner Anderson, narrator

My city. This is a trip through quintessential Montréal, visiting a soundscape that envelopes, shakes and rocks me. It mixes the hot tam-tam jams (drumming) on the Mountain with student protests, captures the big Friday night on Crescent street, spies on the outdoor lunchers at Place Ville-Marie; the hurried Orthodox Jews of Outremont, and the patrons at Café Olympico.

[viii-08]

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Performers

• Delphine Measroch, cello
• Christian Olsen, drum kit
• Fortner Anderson, narrator

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Performers

• Delphine Measroch, cello
• Christian Olsen, drum kit
• Fortner Anderson, narrator

The greatest American mirage, Las Vegas is evoked by Fortner Anderson (recorded voice), through the words of his poem, Vegas. He revisits the dry hills and desert nearby, the chimeric streets, the trompe-l’œil architecture. He spins an internal tale involving melancholic feelings and fresh questions. I weave field recordings of desert walks and cacophonous casinos.

[viii-08]

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Performers

• Delphine Measroch, cello
• Christian Olsen, drum kit
• Fortner Anderson, narrator

German composer and radio-producer Michael Rüsenberg was kind enough to record a large number of Berlin ambiences: the kites and flyers of Teufelsberg (Devil’s Mountain), the Turkish markets, a hovercraft race, birds in cages, a woman’s charming laugh. I added my own recordings of Berlin trains as they are an integral part of that city’s sound.

[viii-08]

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Performers

• Delphine Measroch, cello
• Christian Olsen, drum kit
• Fortner Anderson, narrator

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Performers

• Delphine Measroch, cello
• Christian Olsen, drum kit
• Fortner Anderson, narrator

This piece is a loose interpretation of the myth of Orpheus. In this version, Orpheus runs after his muse from rural Québec to Berlin. There, he wanders the streets and parks, the zoo and the train stations, searching in vain.

I have incorporated the ambience of my friend Michael Smith’s farm (in the first movement Orpheus’ First Dream), the streets of Berlin, the famous former-East Berlin square of Alexanderplatz. There are, of course, the ever-present sounds of the trains. These feature the other-worldly voices on the PA systems, which sound to me like a virtual guide from the future. The doors of the trains exhale with loud hisses, spewing out a chorus of legs and arms. These compete for space with pigeons, motorcycles, cars, and loud young men. Berlin is a giant train station.

[viii-08]

mOrpheus was realized in 2003 at the composer’s studio and premiered on November 15, 2003 during the festival Elektra at Usine C (Montréal). The piece was realized with support from the Canada Council for the Arts (CCA). Thanks to Thien Vu Dang, Bruce Gottlieb, Katia Gagné, and Michael Smith.

Composition

• 2003, Personal studio, Montréal (Québec)

Premiere

• November 15, 2003, Elektra 2003: Concert, Usine C, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Impulse carries the listener across spaces that are not clearly comfortable or unpleasant. The doors and resonating hallways push us to the edges of our imagination. The acoustic environments, which are used as a kind of narrative, come from recordings made in the basement of the National Film Board (NFB)’s main building in Montréal. The rhythmical elements are used to trigger physical and emotional reactions from the listener.

— Ned Bouhalassa [English translation: François Couture, viii-08]

A first version of Impulse was realized in 1999 during a residency at Western Front’s studio (Vancouver, Canada) and completed (with the addition of more beat-driven parts to turn it into an electro-techno hybrid) in 1999 at the composer’s studio in Montréal. The piece premiered on March 8, 2000 at Ex-Centris in Montréal during the Rien à voir (7) concert series presented by Réseaux. Impulse was realized with support from the Canada Council for the Arts (CCA). Thanks to Chris Piggens (for his beautiful recordings), Darren Copeland and DB Boyko (Western Front).

Composition

• 1999, Western Front, Vancouver (British Columbia, Canada)
• 1999, Personal studio, Montréal (Québec)

Premiere

• March 8, 2000, Rien à voir (7): carte blanche, eXcentris, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)

Just a dream. A postcard to trigger some memories. A door left open on purpose to invite a return visit. An indulgence in sounds that, when combined, project a few scenes in my mind’s eye.

[viii-08]

Songe errant [Wandering Dream] was realized in 2005 at the composer’s studio and premiered on December 10, 2005 during Akousma (2), presented by Réseaux at Espace GO in Montréal. The piece was commissioned by Réseaux des arts médiatiques, with support from the Canada Council for the Arts (CCA).

Composition

• 2005, Personal studio, Montréal (Québec)

Premiere

• December 10, 2005, Akousma (2): Rhapsodie urbaine, Espace Go, Montréal (Québec)

Mastering

• Dominique Bassal • Studio Inverse, Montréal (Québec)