Accord ouvert Sophie Delafontaine

Couverture: Ève Monnier, La chute d’Icare (2010), huile sur toile, 97 x 78 cm
  • Fédération Wallonie-Bruxelles (Direction générale de la culture, Service de la musique)

… fluent compositions […] characterised by agile movement and graceful transitions… The Wire, RU

Accord Ouvert shows Delafontaine as a very arty and focused sonic magpie, collection sound elements — be it field recordings, modified instruments / tones, or voices into a decidedly spell-bind sonic experience. Musique Machine, RU

Stéréo

  • 44,1 kHz, 16 bits

Stéréo

  • 44,1 kHz, 16 bits
  • 44,1 kHz, 24 bits
  • 48 kHz, 24 bits

• MP3 • OGG • FLAC

Accord ouvert

Sophie Delafontaine

Quelques articles recommandés

La presse en parle

  • Julian Cowley, The Wire, no 427, 1 septembre 2019
    … fluent compositions […] characterised by agile movement and graceful transitions…
  • Roger Batty, Musique Machine, 24 juillet 2019
    Accord Ouvert shows Delafontaine as a very arty and focused sonic magpie, collection sound elements — be it field recordings, modified instruments / tones, or voices into a decidedly spell-bind sonic experience.
  • Richard Allen, A Closer Listen, 1 juillet 2019
    Her natural curiosity is just as great, and on Accord ouvert she translates her alliterative collections into electro-acoustic studies.
  • The Wire, 1 juin 2019
  • Giuseppe Aiello, Blow Up, no 253, 1 juin 2019
    Sempre però molto, molto acusmatiche.
  • Richard Allen, A Closer Listen, 29 mai 2019
    These recycled sounds have indeed been made new; when the album ends and we reenter our own acoustic environments, we do so with new ears.

Modern Composition

Julian Cowley, The Wire, no 427, 1 septembre 2019
… fluent compositions […] characterised by agile movement and graceful transitions…

Review

Roger Batty, Musique Machine, 24 juillet 2019

Accord Ouvert is the debut album from Belgium based elector-acoustic / acousmatic / musique concrete composer Sophie Delafontaine. The CD album/digital download servers up six tracks that dart between mysteriously unsettling, playful & bizarre, and inventive & daring — all to create a real sonic roller-coaster ride of a release.

Sophie Delafontaine was born in Switzerland in the late 1980s. At the age of twenty she decided to leave her home to move to Belgium where she studied acousmatic composition at the Conservatoire royal de Mons, she gained her master’s degree in 2014- and since she has been composing work that follows links / connections between acousmatic music and contemporary dance.

The six pieces come from between 2013 & 2018 — and each lasts between the seven and fourteen-minute mark, with an album total runtime of sixty-three minutes. Things begin in wonderful dizzying and unbalancing manner with 2015’s Ondiésop — which moves between hovering drone rises created by reverberant bell, creepily bounced & modified voices, and field recording of seagulls, waves and water. Later on, we have the decidedly unsettling & un-nerving Ressort spiral — this 2014 piece brings together winding down & up music boxes, ticking & tocking clocks/ machinery, with sheared & stretched French chatter — all to create a wonderful nightmarish & surreal atmosphere.

Though-out the release Delafontaine highlights both her flair for creating both unbalancing moodiness and sonic playfulness- with each of the six works showing these two talents in a fairly even balance. I guess as not been a French speaker myself, some of the more dialogue-heavy moments here are lost a little on me, but these never last too long — and when they are present she adds in other elements to the mix to create — uneasy, playful-ness or a mixture of the two.

Accord Ouvert is a brave and decidedly varied debut release where you really don’t know where you’ll spin off, or dip into next. It shows Delafontaine as a very arty and focused sonic magpie, collection sound elements — be it field recordings, modified instruments / tones, or voices into a decidedly spell-bind sonic experience.

Accord Ouvert shows Delafontaine as a very arty and focused sonic magpie, collection sound elements — be it field recordings, modified instruments / tones, or voices into a decidedly spell-bind sonic experience.

First Half Highlights ~ The Top 20

Richard Allen, A Closer Listen, 1 juillet 2019

Crickets and clocks, seagulls and strings ~ one could be forgiven for thinking Sophie Delafontaine is writing a Dr. Suess book. Her natural curiosity is just as great, and on Accord ouvert she translates her alliterative collections into electro-acoustic studies.

Her natural curiosity is just as great, and on Accord ouvert she translates her alliterative collections into electro-acoustic studies.

Recensione

Giuseppe Aiello, Blow Up, no 253, 1 juin 2019
Sempre però molto, molto acusmatiche.

Review

Richard Allen, A Closer Listen, 29 mai 2019

Electro-acoustic music is an acquired taste, falling under the same banner as musique concrète and the lesser-used acousmatics. For 20 years, Montréal’s empreintes DIGITALis has been releasing a steady stream of this intricate, fascinating music, bringing award-winning compositions to the attention of larger audiences. But when we write larger, we still don’t mean large. There’s little of the mainstream in this brand of music, not even the hint of a hit.

So who exactly listens to this electro-acoustic music? (Reviewer raises hand.). Okay, who else? The answer is simple: those who enjoy textures as much as melodies. Consider for example Ondiésop, the opening track on Sophie Delafontaine’s Accord ouvert. The sources include a reverberant bell, modified voice, seagulls, waves, and snatches of French song. The Swiss composer “likes to recover, recycle and renew her sonic materials.” Call her a collector of sound. Delafontaine is also a dancer, and her music relates well to contemporary choreography, inundated with impression and allusion. But while Ondiésop prefers sound to instrument, Respire marche pars va-t-en introduces a thrill of strings followed by a narrow electronic mirror of military drums. At 4:50 (approximately midway) a surging chord is toppled with dissonance, and then dialogue. An ice cream truck passes quickly before the rain begins to fall. Yet even the rain is subject to the artist’s manipulation; she uses it as instrument, unleashing it only for moments at a time like a benevolent goddess taking the clouds for a walk.

In order to appreciate electro-acoustics, one must lay aside all preconceptions. These albums unfold like books whose jackets lack descriptions. One turns the next page, unaware of what one will encounter. But it’s not just the thrill of discovery; when Delafontaine begins to wind children’s toys on Ressort spiral, she exposes the fun side of acousmatics. A clock ticks, doubles, stops, and finally, at 6:33, rings. It’s time to get up! No, wait ~ she is up. Where others hear only the sounds of everyday life, blending into the blasé, she hears symphonies. In Creux-du-Van, she enters the soft night, repurposing the cries of crickets and even taming the wind. The sixth minute sounds like the spring thaw, fragments of ice jostling each other, growing more agitated as they melt. An in the end, all dissolves into lonely whistles of air. These recycled sounds have indeed been made new; when the album ends and we reenter our own acoustic environments, we do so with new ears.

These recycled sounds have indeed been made new; when the album ends and we reenter our own acoustic environments, we do so with new ears.

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