Gilles Gobeil - Là où vont les nuages
  Year :   1990
  Location :   Canada
  Worktype :   Acousmatic Work
  Materials:   -
  Info :   -

  Work Details  
  the Ondes Martenot is linked to a MIDI converter, opening the utilization of synthesizer, sampler and a sound processing unit to Binet-Audet. This work has been released on an earlier Empreintes DIGITALes CD, but as was the case with Voix blanche is the case with Là où vont les nuages; a contemporary makeover by the composer, who had it overhauled in 2004 and re-recorded in early 2005, collaboratively mixed by Gilles Gobeil and Suzanne Binet-Audet. Here is the result, for our ears only. It staggers and winds through its beginnings, through a sonic deliverance that could have been filtered out of a steel factory havoc, reduced and radicalized into a swelling motion that reminds me some of the shaman realms of Rolf Enström’s Tjidtjag and Tjidtjaggaise; a mysterious widening of space and time – and I can’t refrain, either, from making an analogy to Stockhausen’s Sirius space ships gearing up! The sound is rich an sort of waiting – but there are audible footsteps in there, and a panting breath, for a while – so the human touch is there! There is lots of motion about this music; nothing stands still or stops, or if it does, something else moves on; you’re not completely left motionless at any time – but the sounds thin out drastically here and there; breaks that are slapped in the face by singular gold-crusted percussion beats. Several percussive layers are strewn about, achieving tearing, bent-away sensations – until water factory echoes put you right back into Tarkovskij’s Stalker, entering the Zone… Lone and distantly howling sounds are broken up by close and loud alarm clocks. A blind motion forces itself through the vicinity like a train without an engineer, These violent sounds are relieved by distant, meditative foghorns, and then you’re back with Stalker again… with Edward Artemiev. Là où vont les nuages consists of a complex mix of impressions, but it never gets out of hand. It’s a merger of musique concrète and electronic music, perhaps a little too much on the wild side for my taste, but damn interesting and often surprising. Accessed 15.11.06 from