█▀█▀████▀██▀█▀██▀█ ▄ ▄ ▄ ▄ ▄ ▄ ▄ ▄█▀▀▀█▄
███▀██▀████▀█▀████ ▄ ▄ ▄ ▄ ▄ ▄ █ █
███▀██████████████ ▄ ▄ █ ▀ ▀ █
██████████████████ █ █
. . . . . . . . . . █ █
d i g a p h o b i a █▀▄▀▄▀█
______________________________________________________________________________.
Alain Thibault
Volt
______________________________________________________________________________.
.date Nov-07-2004
.style Avantgarde
.label empreintes DIGITALes
.cat.no. IMED-9003 CD
.source CDDA
.type Album
.quality VBRkbps 44.1hz Joint-Stereo
.size 114,2 MB
______________________________________________________________________________.
This is pure cheese! Check out the "serious composer" bust out the early
sampling and MIDI orchestral hits!
www.electrocd.com is a great resource for this sort of music.
Biography:
Alain Thibault was born in Quebec City in 1956. His music has been
performed in Canada and abroad, amongst others, by the Societe de
musique contemporaine du QuΘbec (SMCQ) in Montreal, by New Music
Concerts in Toronto, at Digicon 85, the 2nd Conference on Computer Art
and Creativity, in Vancouver (British Columbia), at the Bourges
International Experimental Music Festival, SynthΦse (France), and in
Tokyo (Japan). In 1982 he received top honors in the electroacoustic
category of the CBC National Competition for Young Composers, for
Sonergie. In 1986 he won the Sound Page Competition held by the American
magazine Keyboard for his Fairlight synthesizer piece GodÆs Greatest
Gift. In the area of multimedia, he has collaborated with visual artists
on: Deca-Dance, E.L.V.I.S. and OUT. He has participated on a variety of
performances, theater productions and concerts, both as a composer
and/or synthesizer programmer. Alain Thibault is a founding member of
the Canadian Electroacoustic Community (CEC). He studied composition at
the Faculty of Music of UniversitΘ de Montreal where he taught
electroacoustic techniques from 1984 to 1988.
Liner Notes:
If we recognize that each composer tends to privilege one dimension of
musical discourse or another (for example: timbre, harmony, or
instrumental virtuosity) in his work and thus conjure up a æstyle,Æ
listening to the music of Alain Thibault is like listening to a game of
rhythms but mostly a game of attacks. The constant and abrupt contrast
between silence (or an harmonic background serving a similar function)
and the sound itselfùcutting and incisive, percussive, vigorous and
energetic, and resolutely urbanùis here the central core from which the
dynamic of the work develops. If there are musics to be listened to with
your head between your hands, we should ideally listen to this one at
full volume, in a sports car, under a radiating sun, in the middle of
intertwining expressways. The resultant energy comes fromùwithout
apologyùthe resources of æstudio pop,Æ rock and jazz. Actually, Alain
Thibault consciously rejects many positions of the so-called
æcontemporaryÆ music as early as VarΦse or Messiµn. And this is
precisely what bothers those who like to clearly divide genres. Some may
have been scandalized by that central place that is suddenly occupied by
the most distinctive element of æpopÆ music: the drum soloà But it is in
vain that one would look on stage for the amazing rhythm section in OUT,
E.L.V.I.S. or Volt: the computer, has replaced it, guided however by a
hand whose control is impressive.
This duel of will and pure technique seems to have displaced itself from
the creative stage to the performance itself. Now the soloists have to
juxtapose themselves almost with inhuman precision to an implacable,
insensitive and independent tape. The process is similar to those
breathtaking ensemble passages, in perfect synchronization, previously
found in the music of musician like Frank Zappa who, in turn, probably
was influenced by the best American Big Bands. In this respect, the
Concerto pour piano MIDI (Concerto for MIDI Piano) is of formidable
performance difficulty (imagine a Cybernetic Prokofiev), whereas Le
soleil et lÆacier (Sun and Steel) might have been subtitled ôThe Lung
and the Machineö or ôBreath against Dynamo.ö The winner of the event is
not necessarily the one we think. At the outset, essentially rhythmic
with a frenetic quality, recently the music of Alain Thibault seems to
give an evergrowing place to melody. As if emotion had opened a path, a
voiceà
Jean Boivin, MontrΘal, March, 1990
Reviews
Because I donÆt have any sort of music-related academic qualifications
(unlike some of my Splendid peers), I was a little bit nervous about
reviewing something by a founding member of the Canadian Electroacoustic
Community. Luckily, my fears about what to do if I didnÆt like Volt were
mooted by the fact that it's a wonderful, dynamic album, full of motion
and energy and thought and collisions of harmony and dischord that are
enjoyable even if you're not writing a dissertation about them.
Concerto pour piano MIDI mechanizes the classical concerto format, and
features a human soloist attempting to keep pace with an electronic
æperformerÆ not limited by human constraints like physical speed, finger
length, and so on. Le soleil et l'acier (Sun and Steel) combines Asian
gamelan-type sounds with undulant keyboards, intermittent electronic
percussion and an otherworldly soprano ù even at its most random, itÆs a
thoroughly engrossing piece. Out builds a futuristic keyboard tale over
four parts, using a Ronald Reagan sample and a variety of sharp
orchestra-hits and percussive melodies. E.L.V.I.S., based on Timothy
Leary's eight mutation phases of life, is a faux-orchestral vision of
dischordant, seething beauty, and as for the closing piece, Voltà youÆll
have to hear it for yourself, on the Boombox. If the whole
electroacoustic thing seems a little too pointy-headed to you, this is
the disc thatÆll show you how wrong you are.
George Zahora, in Splendid E-Zine (USA), March 9, 1998
______________________________________________________________________________.
01 Concerto pour piano MIDI 12:59
02 Le soliel et l'acier 08:08
03 God's greatest gift 02:44
04 No-Where 03:37
05 Impossible Orchestra 03:32
06 OUT-realite 03:42
07 E.L.V.I.S. (electro-lux vertige illimite synthetique) 13:57
08 Volt 13:35
. .
62:14 min
______________________________________________________________________________.
.
░ ░░ ▒░░░░▓▓ ███████████ ▓▒░▒░░ ███████▀▀▀ ▀ ▀▀ ▀ ▀ .
▀ ▀▀▀▀▀▀▀▀▀▀ ██████▀▀▀▀▀ ▀▀▀▀▀▀ ██████▀▄▓███████████ :░░ ▒ ░
█████████████████ █████████████████ ▒███████████████▄▀ ░ ░ ░░
█████████████████ █████████████████ ███████▀▀█████████ ░░ ░ ░░ ░ ▒ ░
▄▄█▄██████ █████ ▄▄█▄██████ ████ ▄▄█▄████ ▒'████████ ░░ ▒░▒ ░ ░ ▒░░ ░░
██████████ ░████ █████████▀ ░ ████ ████████.▓ ████████ ▒░▒░▒░▒░▒░▒░ ░░
██████████ ░ ████ █████████▀ ░ ████ █████████▄▄▀▀▀▀▀▀▀▀ ░▒░▒▓▒▒▒░▒░▒░ ░ ░
▀█████████ ▒ ████ █████████▀ ░ ████ ▒█████████████▒▄ ▒░▓▒▓▓ ▒▓ ▓▒▓▒▓ ░░ ▒
▀█████████ ░ ████ ██████████ ▒ ████▄▄ ▀▒█████████████▒ ▒▓▒ ▒▓▒ ▓▒▓ ▒░ ░
▀█████████ ▒ ████ ██████████ ░ ████▀▄▄▄▄▄▄▄▀▀██████████ ▓▒ ▒ ▒ ▒▓ ▓▒ ░░░
▀█████████ ▓ ████ ██████████ ▓ ████ ███████ ▒'█████████ ▒ ▄▓ ▒ ▒ ▒▓ ▒░ ░▒░
██████████ :████ ██████████ ▓ ████ ███████ ▓ █████████ ▓█▓▀ ▀▓█▓ ▓▒▓ ▓░▒▒░▒
███████████▄█████ ███████████.▒████ ████████▄▄█████████ ███ █ ██ ▄ ▒ ▒ ▓▓░░░
▒████████████████ ██████████▀██████ ▀▒███████████████▒▀ █▀ ██ ▀ ▓█▓ ░▓<FFT>▒
..▄▄░█████████▀████ ██████████'▄▀█████▄▄▀▀███████████▀▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄
▀▄ ██████████
▀▄ digaphobia ██████████ peace to music lovers everywhere
▀. public ██████████
▀. sound ██████████ 1real - amok - bcc - cmg - cmc - cms - diss
: █████▀████ drum - fuffens - hit2k - just - kw - nuhs - om
: ███████▀██ rac - radial - sb - sfe - soup - sour - tr - ube
. ██▄███████ _______________
▀██▀█ ▀██
▀▀ ▀ █▀██ go to the show
▀█ ▀ ██ buy the t-shirt
██ ▀ ▀█ ▄ order the vinyl
▀ ▄ ▀ ▀ _______________
██▀
█▄█
▄ ██
█ ▀ ▀
▄