“Field recordings have always fascinated electroacoustic composers, ever since Pierre Schaeffer’s Cinq études de bruits (1948), featuring processed train sounds.”

“This is a casual listening path, an invitation to travel — not a guided tour per se, more of an itinerary, akin to Romantic-era travel literature.”

“Natasha Barrett paints with sound… but the color of her canvas is black.”

“It has been some time that I listened to a new release of electroacoustic music, so imagine I was anxious to hear some new ones that I found on my doormat.”

“Eine absolute Empfehlung.”

“Frisches Wasser direkt von der Quelle, sauber, klar, natürlich. Den Klang dazu reproduzierte Natasha Barrett original und perfekt auf einem neuen Tonträger.”

“Not so long ago, electronic music was the province of those lucky enough to be able to gain access into the squeaky clean labs of Ircam or similar institutions, where large, impossibly expensive boxes festooned with dials and flashing lights awaited the bidding of the composer.”

“Natasha Barrett est une jeune acousmaticienne britannique installée à Oslo, Arturo Parra est, lui, un Colombien résidant au Québec.”

“Learning from a master, Jonty Harrison (University of Birmingham, UK), Barrett’s developed a distinctive voice on Isostasie.”

“I heard rumors about Barrett as being one of the very best acousmatic composers around today; this highly engaging record shows me those rumors are true.”

“Natasha Barrett, 1972 in England geboren, studierte Elektroakustik bei Jonty Harrison und Denis Smalley und lebt und arbeitet heute in Oslo.”

“Natasha Barrett, d’origine anglaise, s’est exilée en Norvège et se laisse influencer par ce nouvel environnement pour composer ses pièces électroacoustiques mêlant sons concrets et d’autres générés de manière informatique à partir de modèles mathématiques.”

“The empreintes DIGITALes label has over the years released lots of material by composers of so called “musique concrète” and “electroacoustic” music.”

“Grâce au label québécois Empreintes Digitales, Solénoïde reprend le cap d’un monde électroacoustique complexe et parfois merveilleux dans lequel les enceintes font office d’instrument à part entière.”

“Natasha Barrett is an electroacoustic composer — she creates soundscapes out of carefully manipulated everyday sonic tones, as well as tape loops, samples, synthesized drones and so forth.”

“This one sounds like a mixture of digital “granular” synthesis and all sorts of concrete manipulation. It’s a mass of sonic swarms and textures that scatter and dive around, sometimes in big churning fabrics (kinda Stockhausen like) and sometimes in sensory collages (Redolfi and Zanési realms).”