Canadian electroacoustic composer Dolden champions a ‘theory of excess,’ a belief that the intoxication and seduction of information overload is a desirable condition, one that frees us to perceive the world afresh. L’ivresse de la vitesse compiles nine devastating sonic manifestos to make his point. Several hundred painstakingly scored and multitracked solo acoustic instruments collide to produce a super-dense musical black hole that even Iannis Xenakis would have shied away from. Trying to actually follow the impossible complexity drags you across the event horizon into a world where consciousness survives but meaning has been obliterated. Futile relief comes on a few tracks where virtuoso soloists battle in vain against the taped chaos Nirvana or nihilism? No matter, you can listen to it a thousand times without wanting it to make sense.