Poupées mathématiques (Blu-ray-R-Audio Surround) Track listing detail

Poupées mathématiques

Dominique Bassal

  • Year of composition: 2013
  • Duration: 12:23
  • Instrumentation: 7.1-channel fixed medium

Stereo

ISRC CAD501410044

  • 48 kHz, 24 bits
  • 96 kHz, 24 bits

Surround 5.1

ISRC CAD501410038

  • 96 kHz, 24 bits

Surround 7.1

ISRC CAD501410032

  • 96 kHz, 24 bits

We are being watched; we know by whom and for whom. The operation, put together by soulless beings, uses satellites, cameras, computer programs, and drones. This piece puts under the spotlight a particularly grotesque (potential) development in the drone department. Among the objects that will be used to spy on children, there will be dolls. Their duty will consist in identifying future deviants, terrorists, and troublemakers right from the crib. Here they are, a few dozens of these pink watchdogs, assembled for a training session during which they will learn, through a vocabulary composed of digits, the mystique of patrolling. Soon, the euphoria of crystal-clear convictions gets replaced by the heaviness and contradictions of the program, the gaping holes in Ethics — constantly evoked, never satisfied. The dolls sink into depression, before moving into paranoia. This story has no conclusion. Perhaps it is our role to find one…

[English translation: François Couture, iii-14]


Poupées mathématiques was realized in 7.1 in 2013 at the composer’s studio in Montréal and premiered on December 5, 2013 during the concert Électrochoc 3 in the Studio multimédia of the Conservatoire de musique de Montréal (Québec).


Premiere

  • December 5, 2013, Électrochoc 2013-14: Électrochoc 3: Dominique Bassal, Studio multimédia — Conservatoire de musique de Montréal, Montréal (Québec)

Choraal: frontière Nord

Dominique Bassal

  • Year of composition: 2012
  • Duration: 9:28
  • Instrumentation: 7.1-channel fixed medium

Stereo

ISRC CAD501410045

  • 48 kHz, 24 bits
  • 96 kHz, 24 bits

Surround 5.1

ISRC CAD501410039

  • 96 kHz, 24 bits

Surround 7.1

ISRC CAD501410033

  • 96 kHz, 24 bits

Back to the 2nd century, a low flyover of the Roman Empire’s German “limes”, starting at the North Sea and ending above the Danube River. The entity, invisible though not intangible, that makes this trip is not our primary focus, though some of its airborne pirouettes will end up stealing the spotlight at times. No, this is mainly about the places it visits, the strange, complex and forgotten rituals it witnesses. First, virginal choirs, static yet hysterical, controlled under the table by a caste of druids who use their breathing as an insidious form of power. Then we see a small group of musicians slowly passing by, repeating in canon form a lament that announces infinite losses. Now, another procession, this one much larger and even more serious-looking, whose brassy warning horn calls remain opaque and undecipherable. The situation grows more confused: sudden outbursts of excitement, unbearable tensions, masses of people turning back as laughing hordes start after them, falling over cliffs appearing out of nowhere. And in an instant the journey ends: the entity delicately goes through some kind of cloud made of clinical cleanliness and stupor, and that cloud dissolves it…

[English translation: François Couture, iii-14]


Choraal: frontière Nord was realized in 7.1 in 2012 at the composer’s studio in Montréal and premiered on December 5, 2013 during the concert Électrochoc 3 in the Studio multimédia of the Conservatoire de musique de Montréal (Québec).


Premiere

  • December 5, 2013, Électrochoc 2013-14: Électrochoc 3: Dominique Bassal, Studio multimédia — Conservatoire de musique de Montréal, Montréal (Québec)

La main visible

Dominique Bassal

  • Year of composition: 2014
  • Duration: 17:48
  • Instrumentation: 7.1-channel fixed medium

Stereo

ISRC CAD501410046

  • 48 kHz, 24 bits
  • 96 kHz, 24 bits

Surround 5.1

ISRC CAD501410040

  • 96 kHz, 24 bits

Surround 7.1

ISRC CAD501410034

  • 96 kHz, 24 bits

The hand, the one whose presence is always betrayed by its infinitely vulgar shadow, even more visible due to the fact that it sees itself as ineffable. Behind and above, beings so petrified in fortune that they decided, once more tonight, to play “Rebel Jazz.” They come down from their cloud palaces to finely observe, like tantric Burroughses, how the ethnic wrecks, neurotic prostitutes, anorexic junkies and other vessels of human decrepitude, who have for ancestors this strange “middle class” from centuries past, eke out a living. A long night of contemptuous delirium: the beings, the bodies to be sacrificed do not matter. And in the morning, the hand, unphased, reinserts each in his or her place: osteopathy, liposculpture, meditation, and mental refocusing for the aesthetes managers; for the others, low neighbourhoods reeking of dead-end lives, sulking, eroding, and nauseous.

[English translation: François Couture, iii-14]


La main visible was realized in 7.1 in 2014 at the composer’s studio in Montréal.

Babylone, les regrets

Dominique Bassal

  • Year of composition: 2013
  • Duration: 8:25
  • Instrumentation: 7.1-channel fixed medium

Stereo

ISRC CAD501410047

  • 48 kHz, 24 bits
  • 96 kHz, 24 bits

Surround 5.1

ISRC CAD501410041

  • 96 kHz, 24 bits

Surround 7.1

ISRC CAD501410035

  • 96 kHz, 24 bits

Two similar stories, running in parallel, more than 2,500 years apart: during the reign of Nebuchadnezzar II, an enslaved couple lose their child — or their child is kidnapped. Desperate, isolated, the parents search the whole city, probably in vain. The authorities bring them no support: they are the lowest form of scum. The drama repeats itself one hundred kilometers to the south, in a Baghdad ruined by American bombs and abandoned to anarchy. We do not have more details about these two tragedies; the facts are missing. What is suggested here is what these stories have in common: the morbidity of the ruling class, the suffering it causes. Both are timeless; both are unfathomable.

[English translation: François Couture, iii-14]


Babylone, les regrets was realized in 7.1 in 2013 at the composer’s studio in Montréal and premiered on December 5, 2013 during the concert Électrochoc 3 in the Studio multimédia of the Conservatoire de musique de Montréal (Québec).


Premiere

  • December 5, 2013, Électrochoc 2013-14: Électrochoc 3: Dominique Bassal, Studio multimédia — Conservatoire de musique de Montréal, Montréal (Québec)

Conséquences des gaz à effet de serre

Dominique Bassal

  • Year of composition: 2012
  • Duration: 13:37
  • Instrumentation: 7.1-channel fixed medium

Stereo

ISRC CAD501410048

  • 48 kHz, 24 bits
  • 96 kHz, 24 bits

Surround 5.1

ISRC CAD501410042

  • 96 kHz, 24 bits

Surround 7.1

ISRC CAD501410036

  • 96 kHz, 24 bits

About the consequences of greenhouse gas emissions, everything has been said already, yet nothing seems to get done. So here is my contribution: a musical illustration, a prophesying fable that might just manage to talk to — hopefully to inspire a healthy dose of terror — to some of those who seized power and do as they please. Above them and above us, gas concentrations increase, move about and insinuate themselves, brewing catastrophe, hidden behind this “complexity” we are not meant to understand. Gas pockets accumulate, growing more threatening, in sharp contrast with the faintheartedness of our palliative actions. Then, suddenly, huge waves come down, again and again. In short time, everything has been wiped out. Groups of survivors emerge from the carnage and weakly attempt to rebuild strands of civilization. A hybridized form of music culture reappears, but there is no cohesion anymore, as the ghosts of the catastrophe are still haunting the planet, drenching the atmosphere with indelible sadness. People have terrible nightmares, often collectively. The ending of the piece is nothing more than a small, a really tiny… interrogation mark.

[English translation: François Couture, iii-14]


Conséquences des gaz à effet de serre was realized in 7.1 in 2012 at the composer’s studio in Montréal and premiered on October 25, 2012 during the concert Elektramusic at Musée d’art moderne et contemporain (Strasbourg, France).


Premiere

  • October 25, 2012, Concert, Musée d’art moderne et contemporain, Strasbourg (Bas-Rhin, France)

Broto et sa z’complice

Dominique Bassal

  • Year of composition: 2013
  • Duration: 12:40
  • Instrumentation: 7.1-channel fixed medium

Stereo

ISRC CAD501410049

  • 48 kHz, 24 bits
  • 96 kHz, 24 bits

Surround 5.1

ISRC CAD501410043

  • 96 kHz, 24 bits

Surround 7.1

ISRC CAD501410037

  • 96 kHz, 24 bits

People have occasionally imagined that aliens were sending us benevolent beings as ambassadors, individuals who were naturally determined to shake us out of stagnation. In other fictions, aliens send cohorts of bleak brutes with orders to enslave us. Notwithstanding, we have always granted these emissaries a superior intellect. The two intergalactic secret agents portrayed in this piece are complete idiots. What are they doing on Earth? They are gathering absurd intelligence, insignificant bits of melodies. They grab all sorts of knick-knacks that they string together into necklaces and tie to their boots, and so adorned they go to unlikely places: barns, gambling rooms. And there, in the middle of an out-of-topic conversation, they inexplicably go into a trance or fall asleep. This fable is not as “Gaia-centric” as it seems: in the end, the good news is that we’re not the only race in the cosmos whose security forces consist of slow-witted individuals…

[English translation: François Couture, iii-14]


Broto et sa z’complice was realized in 7.1 in 2013 at the composer’s studio in Montréal and premiered on December 5, 2013 during the concert Électrochoc 3 in the Studio multimédia of the Conservatoire de musique de Montréal (Québec).


Premiere

  • December 5, 2013, Électrochoc 2013-14: Électrochoc 3: Dominique Bassal, Studio multimédia — Conservatoire de musique de Montréal, Montréal (Québec)

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