Hans Tutschku is approaching electroacoustic composition in a way quite reminiscent of Francis Dhomont’s masterwork Sous le regard d’un soleil noir, a parallel that is not limited to both men’s use of human speech. Tutschku stirs his sonic matter and suddenly takes an armful and throws it at the speakers. The music is destabilizing, even creepy at times, thanks to a wonderful integration of voices in multiple languages (German, French, Spanish). Tutschku’s “cinema for the ear” often provides a setting for a poem embodied in the work. Antonio Bueno Tubia, Karl Lubomirski and Georg Trakl have poems treated this way. Les invisibles and Sieben Stufen both have complex structures derived from numbers 5 and 7, but instead of making them more opaque, it gives them particular relief. For a first collection (these works have been written from 1991 to 1998), Moment makes a very strong debut.

The sounds that this electroacoustic music composer who studied in Montréal under the supervision of Marcelle Deschênes and Francis Dhomont, uses are highly identifiable or rather method sounds. Chance seems to be a distinct feature of his intention and some episodic memory can be made out in the soundscapes appearing at certain points of the piece.

Noises arising from the elements situated as supporting canes in imprecise and disquieting situations. Other less identflable sound clusters survive the mechanical explosions which crumble and are recycled into a new timbric feature or a simple self-echoing.

Music conceived with very ambivalent aspects in which both the voice and the electronic fragments chosen for interacting with it are in constant motion. Maintained over certain vocal gestures, percussion collapses to include new liquid spaces within the planes, their distribution turned into surprise and contrast. A recording clearly intended to aural stimulation by means of spatialization.

All the pieces seem to have a very similar making: something that explains why these composers gathered to jointly present a product. Since it seems carried out by a group of composers sharing the same essence or perhaps developed by just one of them, as long as we carefully observe what does their homogeneity of intention consist in through the individual character that emerges as compositional style in ecch of the pieces.

Intimist and narrative electronic music which presents us with a highly elaborated outcome consisting in patterns removed from their source, lightened and delicately introduced in clean faultless strips of spatial fluid. Laid back processes in which small and simulated glittering groupings absorve silence.