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_\\ ' | // mbs!
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'| |_________\ :/ /. -bC! |'
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| music for body and soul |______________________|| |
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|| release infos |
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| |
| + artist ........... Jacques Tremblay |
| + album ............ Alibi |
| + label ............ Empreintes DIGITALes |
| + cat .............. IMED 9842 |
| + year ............. 1998 |
| + genre ............ Electronic |
| + source ........... CDDA |
| + quality .......... VBRkbps / 44,1Khz / Joint-Stereo |
| + release date ..... 11.10.2005 |
| + size ............. 117,5 MB |
| + link ............. n/a |
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|| tracklist |
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| |
| 01.Heresie Ou Les Bas-Reliefs Du Dogme 21:35 |
| 02.Oaristys 14:43 |
| 03.L' Intrus Au Chapeau De Spleen 12:05 |
| 04.Rictus Nocturne 11:44 |
| 05.Jeu D' Ondes 03:11 |
| 06.La Robe Nue 14:06 |
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| (t!) total 77:24 min |
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|| release notes |
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| |
| "The temporal goals of Baroque constitute a æmatterismÆ (as |
| opposed to the formal and conceptual mannerism that preceded it), |
| which takes concrete situations into account and becomes part of |
| history with an action." Claude-Gilbert Dubois |
| If I substitute the word æelectroacousticsÆ for æbaroque,Æ I get a |
| definition that corresponds accurately to my approach to |
| electroacoustics. |
| |
| Whether the sound object is used for its symbolic value, or is |
| diluted by effects in order to retain only its energy and make it |
| a more abstract entity, my work is initially produced from |
| concrete sound objects. The variations come from the inductive |
| nature of the material. The different ways of revealing this |
| induction allow the creation of a form that will either follow the |
| objectÆs logic, or be in opposition to it. To paraphrase Debussy: |
| "the object creates the form." |
| |
| The processes that I use to æplay objectÆ are: morphological |
| transformations (transgressions/regressions), mutations, filtering |
| effects (colorations) and montages. I also like to include quotes |
| that refer to a historical event, suggest drama or a æsemantic |
| shift,Æ as in the work Heresie ou les bas-reliefs du dogme (Heresy |
| or DogmaÆs Bas-relief), where I use a Gregorian chant which |
| gradually evolves into distortion (the symbolic passage from the |
| pure to the impure). These symbioses and hybrids form a |
| æbaroquingÆ ?sthetic. |
| |
| If I put forward the idea of the baroque spirit, it is not so much |
| to defend this tendency as to better define my approach. Most of |
| my works have been under the influence of a permanent feature: my |
| baroque spirit. As the writer Alejo Carpentier says: ôI do not |
| consider baroque to be a historic style, it is more like a |
| constant of the spirit." |
| |
| It is only in hindsight that I have realized how much my work is |
| nourished by this constant, and which leads me to a rejection of |
| the defined, the static and the unequivocal. |
| |
| Electroacoustics also allows me to search for the nocturnal side |
| of images, to find the limits of their symbolism, triggering |
| interlocking effects that send perception towards a new object, a |
| new image, a new signifier, like games of ôtrompe-lÆouieö |
| (auditory illusions) and ôtrompe-sensö (sensory illusions). |
| |
| It is a quest for an Alibi, for spaces, for a deferred elsewhere, |
| where day-dreaming stays so real, it can make you believe that |
| ôLife is a dream.ö |
| |
| Jacques Tremblay, Montreal, October 1998 |
| |
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|| group notes |
'| |
| mbs is a new and free music lover association on the net. |
| we only share the music we love, with the people we like. |
| keep your mind, your body and your soul open. peace. |
| |
| _ _________________________\\\\
|_ \ _ .| \
////___\\\ ////--------------------------|' aski injected by basic!
\/