Lieux inouïs (Unheard-of Places) by Québécois composer Robert Normandeau reminds us of Neil B Rolnick’s Sanctus from Bridge Records [PNMR Vol. 1, 5]. Working with completely different aesthetics, two composers with nothing in common have coincidentally created similar sounds from classical sacred music. Like a lot of French Canadian music, the Normandeau CD is narrative; almost programmatic, following a natural and extremely sophisticated progression. And like a lot of American music, the Rolnick CD is abstract, occasionally funny, and mostly non-linear. But Rolnick pales in comparison compositionally, and surprisingly enough, technically. Both composers use tape samples (analog, not digital) of classical music. In Normandeau’s disc. the cited music is mixed with environmental sound, much of it readily identifiable. For instance, Jeu (Game), an electronic tour de force, uses a mélange of nostalgic references to Paris (sounds of the Metro, ÀOrly airport, construction noise) and organ anf choral music. As the listener is swirled into the inexorable movement of the piece, the places (lieux) become almost miraculously tangible. Impressive and intriguing.