Electronic / Acousmatic Music

Seven works by Gilles Gobeil from 1990 to 2020 on the theme of the stroll, from Chris Marker's La Jetée and Kubrick's 2001 with Yves Charuest's saxophone to Folkmar Hein's Berlin forest walks and the trio Déviation(s). CD-R.

Six 7.1-channel acousmatic pieces made by Dominique Bassal between 2018 and 2021, each tied to a historical episode of persecution, from Saint Bartholomew's Day to Deir Yassin, and built with production techniques borrowed from commercial music. CD-R.

An eight-part cycle by Ana Dall’Ara-Majek built entirely from Buchla 200 improvisations recorded at EMS Stockholm in 2022, each piece giving a sound colour to one species of plankton, from radiolarian skeletons to diatom blooms seen from space. CD-R.

Emma Margetson's Contemplations: nine acousmatic works from 2014 to 2022 on the passing of time, from a ticking metronome and a suspended cymbal to a bicycle in Hamburg’s Elbe tunnel and chalk on paper after a Wyndham Lewis sketch. CD-R.

Four acousmatic works by the Belgian composer Ingrid Drese from 2013 to 2020, after Henri Michaux, Rilke and Jung, including Treize virgule huit, a history of the universe made with the astrophysicist Marc Moniez for Ina-GRM. CD-R.

Two documentary works by John Young built on soldiers' voices: a First World War veteran recalling the angel at Mons at 101, and the composer's father, a New Zealand gunner, on his war in Italy, where he met Young's mother. CD-R.

Six works by John Young from 2017 to 2023, from New York subway preachers and Oberlin crickets to Mahler’s composing hut and a setting of Simon Perril’s poem after Lévi-Strauss, including the Klang ! and Akousmatique prize winners. CD-R.

Christian Bouchard’s fourth album, five works from 2013 to 2022 that alternate abstract pieces with Montréal soundscapes: eight-track recordings from his car with police radio, a collective 15-minute recording, Canadian bird songs and a bank of oscillators.

Five works by Léa Boudreau from 2017 to 2022: a sonic portrait of Alzheimer's, a bestiary of species adapted to life after the Anthropocene, and four machines to save the world imagined by Montréal schoolchildren.

Six acousmatic works by Adam Stanović from 2017 to 2022, from the Ohio wind whistling through a studio window to midnight recordings in Hong Kong for the GRM commission Goodnight, Tin Hau, and a homage to Dale Jonathan Perkins.

Yves Daoust's documentary fictions from 1995 to 2021: Lily, built on a courtesan's confidences, in acousmatic and violin-accordion versions, a Chopin-based Impromptu 2, and Calme chaos, recorded at its 2012 premiere by the Nouvel ensemble moderne.

Six works by the Montréal composer Vanessa Massera from 2015 to 2018, made in Sheffield, Estonia and Sweden: English bonfire nights, an abandoned factory with accordionist Tuulikki Bartosik, the Stockholms Saxofonkvartett, and her grandmother’s memories of the Resistance.

Hans Tutschku’s hour-long five-part cycle from 2016-22, built from recordings of daily life, ceremonies, nature and improvisations gathered during three months in Japan in 2014, composed for 16 channels and heard here in stereo.

Three works by Åke Parmerud from 2013 to 2021: Louder Than Life, a five-movement memorial to composer Anders Blomqvist, Raw, made only from the unprocessed output of one unruly software synth, and Dark Matter, built from the electromagnetic fields of household devices.

Four works from 2012 to 2021 by Martin Bédard, two of them co-written with the flutist Marie-Hélène Breault, from the honey metaphor of Honey to a recomposed flute warm-up and Replica, built from her old recordings.

Sophie Delafontaine’s second album, a triptych from 2020 to 2026 on matrescence: waiting to conceive, childbirth rendered through Jean-François Laporte’s air-driven Babel Table, and the split self of the months after birth. CD-R.

Elvio Seta is a composer and sound artist whose work encompasses electronic and instrumental composition, live performances, and the creation of original sound works and diffusion structures. Most of his works are conceived by exploiting the qualities of multichannel sound projection to explore the deeper aspects of acoustic perception. On "Music for Dimensions", released under the name Neuf Voix, he treats voice as sonic matter, dissolving the boundary between recognition and abstraction. The a…

Released in digipak. Limited to 200 copies. Guy Birkin and Sun Hammer deliver the elaborate results of their delightfully intellectual 'Complexification' project via Entr'acte. The Complexification project explores musical complexity through a collaborative process based on a set of rules: 1. Make a short, simple piece of music.2. Swap copies of the pieces with the other person.3. Modify the given piece to make it more complex (the given piece must be used, but it can be transformed in any way, …

Julien Palomo (1978) is a free jazz producer and keyboards player with Sonny Simmons, Other Matter and United Slaves. Scutigère is his first album proper, and should be considered a state of mind as well as music.

Super Tip! Last copies... Anestis Logothetis (1921-1994) is known as one of the leading pioneers of 20th century composition.   His graphic notation system, developed around 1958, is a milestone in the evolution of musical notation. Logothetis employs this system to different ways of imprinting the contemporary sound on the score in order to express the sense of space in musical notation and redefine the roles of the composer, the performer and the audience, during the composition and performanc…

Four electroacoustic works by Paul Koonce, Walkabout, Hothouse, Pins and The Flywheel Dream, composed between 1992 and 1998 from recorded materials using collage and computer manipulation.

From Lawrence English: I’m not really sure when I first heard Beatriz Ferreyra’s music. My best guess would be in the early to mid 2000s when I was working alongside the curatorial team at Liquid Architecture. Given the focus of the festival at that time, GRM and musique concrète more generally was very much a point of focus.  That said, it wasn’t until this decade that her work was sharply in focus for me (and I am guessing a great many others). In 2017, I had the great pleasure to meet Beatri…

Five works by Nicolas Bernier from 2005 to 2011 made from old machines: typewriters and William S Burroughs’ cut-up method, gears from cameras, projectors and music boxes, a carpenter-built machine of cogs and levers. DVD-Audio.

Natasha Barrett’s concert works and remixed installations from 2003 to 2008, from hydrophones at a Norwegian glacier and a 2000-geophone seismic recording to a cello piece with Tanja Orning, in stereo, surround and binaural mixes across two discs. DVD-Audio.

A single 60-minute piece assembled by Monty Adkins at the Ina-GRM in 2008 from sounds sent by 66 composers and sound artists, from François Bayle and Francis Dhomont to Fennesz, Tim Hecker and Christina Kubisch, for the 60th anniversary of musique concrète.

Ees'T records is happy to announce a further step into the Maurizio Bianchi new production, a new compact disc which completes the Trilogy starting with the previous Colori and First Day-Last Day. This time the author concentrates on Time, or the inevitable. A sound counterpointistic journey beginning with the creation of the first human being, in autumn 4026 B.C.E. and passing through the two big planetary cataclysms. Then the individual experience of MB himself is investigated, a sort of elect…

Six works from 1986 to 1994 in which Yves Daoust turns everyday sounds and borrowed classics into music: Chopin recorded note by note, Schubert under Radio-Canada archives, Montréal church bells and dripping icicles.

Yves Daoust's 1991 disc of works built on fragments of the classical repertoire: pieces for piano, flute and accordion with tape on the theme of the performer's solitude, a baroque suite for a harpsichordist-actress, and the Bourges-winning Quatuor.

Yves Daoust's portrait of Montréal through its noise, the three-part Bruits (1997-2001), with Impromptu 2 on Chopin's Fantaisie-Impromptu, the 1981 analog-synthesis piece La gamme and Ouverture, a GMEB commission on Québec history.

Humeur de facteur, a six-movement acousmatic cycle by harpsichord builder Yves Beaupré, conceived as an ordre after François Couperin and built from six hours of recordings made in his workshop: tools, saws, strings, tacks and the resonating case.

Four works by the Toronto composer Wende Bartley from 1985 to 1993, built on voice and on the collective story of women: lunar mythology with mezzo-soprano Fides Krucker, Balkan songs stretched by granular synthesis, a Javanese gamelan turned to breaking ice.

Twenty-four clips of exactly three minutes by 25 composers, from Åke Parmerud and Natasha Barrett to Roger Doyle and Katharine Norman, most built from the same three given sounds, released in 1998 for the 50th anniversary of musique concrète.

Three acousmatic triptychs by Stéphane Roy from 1998 to 2003, marking five years in St Louis and the return home: Montréal street recordings with du Bellay and Baudelaire, a homage to Pierre Schaeffer for musique concrète’s 50th, and a circus piece.

Four works by Stéphane Roy from 1987 to 1994 that move from expressive early tape pieces to Mimetismo, where Arturo Parra's guitar blends into the tape, and Crystal Music, composed largely at CCRMA in Stanford.

Seven acousmatic works by Belgian composer Stephan Dunkelman from 1991 to 2000, many born from dance and from his work with Michèle Noiret, including the Stockholm prize-winner Metharcana and Rituellipses, honoured at Ars Electronica in 1995.

Nine works by the Havana-born composer Sergio Barroso from 1982 to 1995, most for microtonal Yamaha FM synthesizers he plays himself, with oboe, violin, viola and bassoon soloists and echoes of charanga, flamenco and Cuban street music.

Roxanne Turcotte’s 35-minute electroacoustic tale of love in a cinema, made in 1986-88 and 1992, with ringing telephones, French folk songs, a nod to Wes Montgomery and texts by Élise Turcotte; 2nd prize at the International New Music Composer’s Competition.

Reissue of Robert Normandeau’s album of four acousmatic and mixed works from 1995 to 1999, including the Golden Nica winner Le renard et la rose, built from voices of a Little Prince radio play, and Figures de rhétorique with pianist Jacques Drouin.

Five multitrack works by Robert Normandeau from 1990 to 1993, his “cinema for the ear” period, built from a child's voice, four teenagers, Mozart's chamber music and the elements, each recorded as a live diffusion over eight loudspeakers at The Banff Centre.

Robert Normandeau's early acousmatic works from 1984 to 1989, his “cinema for the ear”: the many meanings of the word jeu, a requiem made only of requiem fragments, and music first written for Georges Dyens' holosculptures.