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lundi 10 décembre 2018 Général

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mardi 4 décembre 2018 Nouveautés

Nous avons ajouté 13 articles à notre boutique aujourd’hui:

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HCMF 2018: HISS@10, Kudzu, Fast Gold Butterflies

Simon Cummings, 5:4, 22 novembre 2018
jeudi 22 novembre 2018 Presse

[…] The only other work of substance in this concert was Pierre Alexandre Tremblay’s Bucolic & Broken. And what substance! Here, and only here, was a true demonstration of the surround capabilities of HISS. But it wasn’t just the positioning of sounds, Tremblay’s choice of sources – ranging from a scratching pencil to a boiling kettle to birdsong to a tinkling piano gesture to a woman walking her dog – were superbly imaginative, and the way these were juxtaposed into a strange structural form was unconventional but completely convincing. It wasn’t in the usual sense acousmatic, Tremblay instead presenting these sounds as found sound objects arranged into a kind of spacialised collage. But what set the piece apart from almost everything else in this concert (and, perhaps, most concerts) was its demonstration of Tremblay’s very obvious playfulness and a palpable sense of wonder at the sounds he’s working with. For electronic music to be as accomplished as this while being so much fun is a rare combination. […]

For electronic music to be as accomplished as this while being so much fun is a rare combination.

HCMF 2018: United Instruments of Lucilin, Harriet

Simon Cummings, 5:4, 21 novembre 2018
mercredi 21 novembre 2018 Presse

[…] In Pierre Alexandre Tremblay’s electroacoustic Un fil rouge the electronics were for the most part uncannily present – which is to say that they felt like a tangible yet invisible additional performer on stage. They manifested most prominently in a recurring motif, extending the ensemble’s tutti accents into an accelerating (and occasionally decelerating) sequence of impacts. This motif recurred so often, in fact, that it became in essence a refrain, between which were a number of episodes providing a contrast to its impetus and momentum. Though they exhibited far less energy, these episodes were the most striking moments of the piece, Tremblay more prepared to let the material drift and linger, resulting in beautiful, dreamy sequences. Even when they were pushed along, though, this episodes remained distinct in the way they seemed more ragged, the result of playful spontaneity driven by an exciting bubbling sense of abandon. […]

… in beautiful, dreamy sequences.

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