Massimiliano Busti, Blow Up, no 296, 1 janvier 2023
mardi 10 janvier 2023 Presse

Fra composizione elettroacustica e musica classica contemporanea, i lavori di Vanessa Massera e della coppia Martin Bédard / Marie-Hélène Breault presentano più di un’affinità nella loro struttura. Massera abbina field recordings e sintesi granulare a elementi acustici che assestano il baricentro di Fulgurances su un’idea di poesia sonora ricca di suggestioni e forza espressiva, con la fisarmonica che in Omega 3 risuona come un organo a canne negli spazi di una fabbrica abbandonata, le voci che in An Almost Abstract Experience intersecano melodie della tradizione popolare in una complessa tessitura digitale, la carica di angoscia che in Border Crossing evoca la deriva dei migranti e le memorie familiari che riemergono fra i drones di Résistance.

… d’une poésie sonore riche et d’une puissance expressive…


Baze Djunkiii, nitestylez.de, 29 décembre 2022
mercredi 4 janvier 2023 Presse

Released via the long-standing avantgarde imprint Empreintes Digitales on October 11th, 2022 is Lames de fond, the extended collaboration album conceived by the joined forces of experimental composer Martin Bédard and Marie-Hélène Breault. With four extended pieces composed and brought to life over a timespan of almost a decade rolled out over a total playtime of 61 minutes the opening piece Honey (Architectures From Silence No. 1) caters a thundering, highly compressed and twisted maelstrom comprised of both Digital Noize, heavy duty Industrial war drums as well as splintered fragments of Contemporary Classical music; followed by the fascinating amalgamation of grinding, tectonic Noize movements and Marie-Hélène Breault’s enchanted, yet still highly dramatic flute performance to be found in 𝄆 Extensio:Warm:Up 𝄇; before the cut finally resolves in waves of calming Ambient music. Subsequently Replica provides sonic shockwaves of buzzing, whirling, fluttering electrical Noize later accompanied by layers upon layers of tense off-kilter strings shortly interrupted by surprisingly calm, yet somewhat eerie breakdown sequences whereas the concluding Kissland brings forth a set of movements ranging from braincell crushing Digital Noize sequences to dynamic outbursts of scraping Noize paired with short fever’ish, micro-fragmented Modern Classical strings on the brink of madness. Probably the most spine-tingling, intense and captivating Empreintes Digitales release we’ve reviewed so far. Excellent. Go check.

Probably the most spine-tingling, intense and captivating Empreintes Digitales release we’ve reviewed so far. Excellent. Go check.


Roland Torres, SilenceAndSound, 29 décembre 2022
mardi 3 janvier 2023 Presse

Compositeur au CV impressionnant, Adam Stanović nous propose avec Hymnes sans paroles un très court résumé, 6 titres, en guise d’introduction à son univers, pour ceux qui ne connaitraient pas encore sa musique. En effet, sa musique aime s’affranchir des genres et sauter les obstacles, convoquant l’électroacoustqiue à se muter en espace destabilisant, où tous les sens sont captivés par la richesse de chaque pièce présentée. Les atmosphères sont définitivement axées vers un futurisme nourri de sonorités enregistrées et de machines en roue libre, bandes-sons pour films de science-fiction à la chair métallique et aux souffles acidifiés. Adam Stanović bâtit des architectures grandioses à la beauté radioactive, géographies mouvantes à l’impalpabilité aérienne survolant des zones désertiques aux reflets universels. Superbe.

… des architectures grandioses à la beauté radioactive, géographies mouvantes à l’impalpabilité aérienne…

Release Tipp: Yves Daoust + Adam Stanović / empreintes DIGITALes

Radiohoerer, 29 décembre 2022
vendredi 30 décembre 2022 Presse

Mit Quatuor (1979) begann ich, das klassische Musikrepertoire zu erforschen, Repertoire zu erforschen, um neue Lesarten von Werken aus der Vergangenheit durch ihre Konfrontation oder ihren Vergleich mit zeitgenössischen dokumentarischen Umgebungen. Dieser Ansatz wird hier veranschaulicht durch Impromptu 2 und Calme chaos. Andererseits ist Lily, das sich um die Vertraulichkeiten einer Kurtisane dreht, näher an meinem allerersten elektroakustischen Musikstück Paris, les Grands-magasins (1975). Ich habe zwei Versionen davon aufgenommen, eine akusmatische und eine Version mit gemischter Musik. Ich glaube, sie eröffnen unterschiedliche Lesarten.

Diese Sammlung von Werken ist meiner Frau Inja Stanović gewidmet, die mich unendlich unterstützt, interessiert und ermutigt hat. Hvala, draga moja žena!

Mit diesen beiden Veröffentlichungen stehen sich ein Pionier der elektroakustischen Musik Yves Daoust und ein aufstrebender Komponist der elektronischen Musik, der ebenfalls mit vielen Preisen bedachte Adam Stanović, gegenüber.

Yves Daoust ist mehr die „klassische“ Variante der elektroakustischen Musik, er arbeitet viel mit Stimmen und Fieldrecordings, was nicht weniger herausfordernd ist, als bei Adam Stanović, aber eine ganz eigene Qualität hat. Gerade die beiden Varianten von Lily.

Adam Stanović kann einen mit seinen Soundkreationen „erschlagen“, so wie es oft über einen hereinbricht. Was noch mehr Wirkung erzielt, wenn man Kopfhörer verwendet. Also: Vorsicht. Was aber auch um so eindrucksvoller ist, gerade wenn Adam die große Maschine anwirft und Baltazar seine Reise beginnt: Beeindruckend!

Vergleicht mal beide!


Gli Ultrasuonati

Gianluca Diana, Il Manifesto, 17 décembre 2022
jeudi 29 décembre 2022 Presse

Avanguardia — Rumori psichedelici — Un’immersione totale in ambito di musica concreta ed elettroacustica. Sette sono i temi, divisi nei cinque movimenti di Louder Than LifeRaw, diciassette minuti di stampo rumoristico, è un piccolo capolavoro dal carattere alquanto psichedelico, ottenuto attraverso un impegnativo synth chiamato Skrewell. Da applausi anche 1. Adagio, crepuscolare e affascinante, che ha vinto ex æquo il primo premio nella categoria C alla bienniale Métamorphoses a Bruxelles. ****

Une immersion totale dans la musique concrète et électroacoustique.


Ed Pinsent, The Sound Projector, 14 décembre 2022
lundi 19 décembre 2022 Presse

Belgian-born Marie-Jeanne Wyckmans is another composer inspired by cinema — and also by dance, theatre, video, TV, and radio, areas in which she has worked in her career as a foley artist. Her Trajectoires is mostly made from field recordings, sound effects, and phonography, and many of these nine compositions tell stories, or at least contain strong suggestions of narrative, often with a travel theme. At least two works are inspired by literary sources, in particular two poets. Water and oceans seem to crop up quite a bit, even to the extent of her use of the word “waves” to convey her intentions, and the best pieces here have that precise effect of enveloping the listener in sound — a “dive into bleak magma”, as she calls it. The centre-piece of the album is three substantial works about the pandemic, composed between 2019 and 2021; she wanted to “hold a mirror” to the situation, to show mankind how it really is, and she was not afraid to reflect back some unpalatable truths, telling us things we might not want to hear. She achieves this with vivid images of sulphurous air, anger setting everything on fire, all of mankind screaming in pain, and a world depleted and destroyed by our own insatiable greed — the latter of which is, arguably, one of the many causes of the pandemic in the first place. The trilogy does end on a note of hope — Fin de crise — but not before Wyckmans has issued her stark warnings with the implacable certainty of a true sybil. Personally finding a lot to enjoy and appreciate in the ideas and music of Marie-Jeanne Wyckmans, her originality and her sympathetic humanism.

Personally finding a lot to enjoy and appreciate in the ideas and music of Marie-Jeanne Wyckmans, her originality and her sympathetic humanism.