Review

François Couture, AllMusic, 1 août 2001

Louis Dufort’s first CD revealed an original electroacoustics composer who, while relying heavily on the type of acousmatics created within the walls of Music faculties, managed to give his pieces an unusual delinquent twist. What other composer asked the singer of a death metal band to supply sound sources? You can hear the grunts of Gorguts’ Luc Lemay on Zénith and Décap. Dufort did not tear down the wall between the two forms of expression, but he sure found in Lemay a surprising interpreter. When his voice appears, the piece gains in dramatic intensity. Along with the human voice, machines hold an important place in Dufort’s art. Pointe-aux-Trembles was inspired by the refineries of East-end Montréal, while from parts of Décap arise temporary industrial rhythms. Maybe it has to do with the fact that the latter was first created for a choreography by Marie Chouinard (it stands very well on its own). Transit is the most conventional work of this set, an acousmatic study on “continuous discontinuity” (the composer’s choice of words). Less striking mostly because of its weaker structure, it still contains intriguing sounds and textures. Connexion makes a very strong debut from an artist who could rise up to become a singular member of the electroacoustic community.

… an artist who could rise up to become a singular member of the electroacoustic community.

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