Peter van Cooten,, 6 janvier 2021
lundi 11 janvier 2021 Presse

Portail is released on the Empreintes Digitales label, which means you’re about to embark on some mind-boggling electroacoustic soundscapes. Such is definitely the case on this release, even though the music presented here may be somewhat more accessible than other releases on the label.

Dennis Smalley (b. 1946) is a veteran of the electro-acoustic music scene. He studied in Olivier Messiaen’s composition class in Paris and took the electroacoustic music course run by the GRM (Groupe de Recherches Musicales). Initially, he worked with tape, but in the early 80’s he switched to using computer software. A true pioneer of electroacoustic music, its practice and its theory.

Portail is Smalley’s third release (on Empreinted Digitales) after a 20-year ‘pause’. It presents recent multichannel works: Fabrezan Preludes (2015-2016) and Sommeil de Rameau (2014-15). Both were originally composed for 8-channels (oh man, I wish… don’t get me started…), but are converted to stereo ambisonics for this release (by Jonty Harrison) — so headphone listening is recommended.

Also included is one of his earliest compositions: The Pulses of Time (1978), which, by the way, is quite different from the previous two compositions.

In the two recent works, some titles refer to classical composers: Sommeil de Rameau (‘Rameau’s Sleep’), of course, and also Debussy’s Cathedral, directly referring to Debussy’s La cathédrale engloutie (The Submerged Cathedral).

The last title alone made me think of the reinterpretation of this piece by Isao Tomita on his 1974 debut album Snowflakes Are Dancing. And from there I realized there were similarities in the approach of this material (which can best be heard in Sommeil de Rameau), even when there are fundamental differences too. Unlike Tomita, Smalley doesn’t aim to meticulously re-create the classical score: his compositions are entirely his own. And I assume that the techniques used to create this music are also completely different.

But in taking “the transformation and development of a pair of resonant chords from Debussy’s piano prelude”, or when “drawing on characteristics of the sleep scene in French Baroque stage works and cantatas, which first occurred in a comédie-ballet by Molière and Lully the homage to Jean-Philippe Rameau ”, Smalley uses the same washes of ‘engulfing’ sound to create his musical atmospheres.

A dreamlike atmosphere, for the most part: “When a sleep scene is invoked, a main character is exhorted to sleep, and dramatic action is suspended. The music may be solely instrumental, or may involve sung commentary, where, for example, the singers personify dreamed thoughts or suggest future courses of action. The musical style, with its slowish harmonic motion, undulating or rocking contours, and airy instrumentation (typically strings and flutes), is intended to create a contemplative atmosphere and a sense of timelessness.”

A dreamlike atmosphere, for the most part…


Piergiuseppe Lippolis, Music Map, 1 janvier 2021
mardi 5 janvier 2021 Presse

A vent’anni dalla sua ultima pubblicazione, torna in grande stile Denis Smalley, compositore neozelandese di musica elettroacustica, con una coppia di album: Portail, pubblicato a metà dicembre 2020 per Empreintes DIGITALes , e Vues spectrales, che invece vedrà la luce a febbraio di quest’anno. Portail comprende tre brani: Fabrezan Preludes, idealmente diviso in tre atti e composto tra il 2015 e il 2016, Sommeil de Rameau, risalente al biennio precedente, e The Pulses of Time, composta invece nel 1978. L’album si apre con Fabrezan Preludes 1: Portal, che presenta la leggenda della città di Ys, sommersa a largo di Brittany, della cui chiesa, si narra, si possono ancora udire le campane quando il mare è calmo. Portal è un ingresso timido e discreto nella maestosità della navata centrale, mentre Fabrezan Preludes 2: Debussy’s Cathedral prende le mosse dall’omonimo preludio di Debussy e si sviluppa regalando un senso di spaziosità, attraverso un moto ondulatorio e oscillante. C’è un’atmosfera decisamente più inquieta in Fabrezan Preludes 3: The Voices of Circius, seppure con la stessa grazia e la stessa delicatezza. Note cinematografiche permeano Sommeil de Rameau, oltre a un senso di sospensione temporale che restituisce l’immagine visiva del sonno. Dalla contemplativa Sommeil de Rameau, si passa al pulsare regolare di The Pulses of Time, fra armonie metalliche e percussioni leggere, che chiudono l’opera. Portail rappresenta un ritorno graditissimo, anche al netto di un ultimo brano leggermente fuori contesto rispetto ai precedenti. Nell’attesa di febbraio, non resta che godersi Portail.

Portail est un retour très bienvenu…


Massimo Marchini, Rockerilla, 1 janvier 2021
lundi 4 janvier 2021 Presse

Un album intelligent et créatif d’une profondeur culturelle considérable.


Roland Torres, SilenceAndSound, 23 décembre 2020
lundi 28 décembre 2020 Presse

Regroupant six titres composés entre 2005 et 2017, Espaces éphémères montre la diversité dans la continuité de l’œuvre d’Ambrose Seddon.

Son travail sur les textures est pleinement concentré sur l’approche acousmatique, enveloppant l’auditeur dans un magma de sonorités déchues sur des rivages post-apocalyptiques.

Il y a comme un air de fin du monde dans sa musique, enrobée de palpitations et de soupirs métalliques, de ruissellements et de corrosion, de corps liquéfiés serpentant entre des flaques d’azote liquide.

La notion d’espace est omniprésente dans chaque titre, un espace tournoyant capable de s’approcher au plus près et de s’éloigner dans des sphères quasi intouchables, caressant nos tympans et ébranlant nos sens, jouant à nous perdre et à nous surprendre, dessinant des trajectoires aux surfaces glissantes et menaçantes. Un recueil de titres en osmose avec l’année 2020.

Un recueil de titres en osmose avec l’année 2020.

Review: CDs and DVDs

Richard Barrett, Tempo, no 75:295, 1 janvier 2021
lundi 21 décembre 2020 Presse

… an exciting prospect, and one which I’m happy to report broadly lived up to expectations.