Your cart (1 item)
LAPORTE, JEAN-FRANCOIS — Soundmatters
More Info
Fnf starke Kompositionen (entstanden 1997-2005) des Kanadiers, die unter Verwendung von Natur-, Umgebungs- und Objektgeruschen grossflchige Spannungsbgen & Dynamiken aufbauen. So wurden bei "Electro-Prana" nur Wind- bzw. Sturm-Sounds verwendet, whrend das majesttische "Dans le ventre du dragon" auf Original-Blserklngen basiert, die in einer riesigen Frachthalle (mit 15 Sekunden natrlichem Hall) aus dem Hafengebiet Montreals stammen.
Laut LAPORTEs Theorie sind wir im post-industriellen Zeitalter permanent von "Mantren" umgeben, womit er v.a. Maschinengerusche meint, die zyklisch wiederkehren und sich doch in allmhlicher Weiter-Entwicklung befinden. Beeindruckend fhrt er dies exemplarisch in seinem 26mintigen Stck "Mantra" anhand der wunderbaren Vibrationen & Obertne eines Kompressors von einem Eisstadion vor...
Hier kommen elektro-akustische Klang-Finesse, field-recording Glck & und erhabene Drone-Atmosphren zusammen.
Bei Aquarius Records "Record of the week" im Mrz 2007 ! TIP !!
"....The opening track "Electro-Prana" is a pristine set of field recordings of a wind that ripped through Montreal, when the city was silenced by a winter time blackout. It's a pure, chilling sound of whistling wind overtaking the urban landscape. The next piece is the only digitally rendered composition on Soundmatters, yet Laporte brings his intuitive expressionism to a series of spiraling drones that easily rival those of your favorite minimalist (e.g. Niblock, Chalk, Hafler Trio, Xenakis, etc.). For those of you who have had the pleasure of experiencing Laporte's live concerts, the third piece will certainly be familiar. He's built an instrument with a series of car horns and elongated trumpet bells attached to an air compressor with each of the valves controlled by foot pedals. This instrument can generate infinitely sustainable, blaring drones from each of the horns; and Laporte craftily layers these sounds for incredible, dynamic results. Well, for this recording, Laporte lugged this instrument into the hull of a giant cargo ship and recorded this composition using the massive reverb of that space and the results are simply jaw-dropping. Imagine the most Nordic bellow from a Wagner symphony stretched out into its melancholic, raw sound and allowed to decay in space and time. Wow!
Following this is the aforementioned Mantra; and then Soundmatters' final piece which explores a quiet, yet thoroughly rich
harmonic tapestry produced by a quartet of saxophones that could be Laporte's imagined summit between Evan Parker and Morton Feldman with rasping breaths of sound breaking across a silent event horizon with the ghostly energy of subatomic particles flickering and dissolving
in a cloud chamber before amassing into a delirious swarm of Tony Conrad-esque acoustic dissonance. It's all utterly magnificent and
one of finest collections of 'serious' composition that we've come across." [Aquarius Records]
www.23five.org
Laut LAPORTEs Theorie sind wir im post-industriellen Zeitalter permanent von "Mantren" umgeben, womit er v.a. Maschinengerusche meint, die zyklisch wiederkehren und sich doch in allmhlicher Weiter-Entwicklung befinden. Beeindruckend fhrt er dies exemplarisch in seinem 26mintigen Stck "Mantra" anhand der wunderbaren Vibrationen & Obertne eines Kompressors von einem Eisstadion vor...
Hier kommen elektro-akustische Klang-Finesse, field-recording Glck & und erhabene Drone-Atmosphren zusammen.
Bei Aquarius Records "Record of the week" im Mrz 2007 ! TIP !!
"....The opening track "Electro-Prana" is a pristine set of field recordings of a wind that ripped through Montreal, when the city was silenced by a winter time blackout. It's a pure, chilling sound of whistling wind overtaking the urban landscape. The next piece is the only digitally rendered composition on Soundmatters, yet Laporte brings his intuitive expressionism to a series of spiraling drones that easily rival those of your favorite minimalist (e.g. Niblock, Chalk, Hafler Trio, Xenakis, etc.). For those of you who have had the pleasure of experiencing Laporte's live concerts, the third piece will certainly be familiar. He's built an instrument with a series of car horns and elongated trumpet bells attached to an air compressor with each of the valves controlled by foot pedals. This instrument can generate infinitely sustainable, blaring drones from each of the horns; and Laporte craftily layers these sounds for incredible, dynamic results. Well, for this recording, Laporte lugged this instrument into the hull of a giant cargo ship and recorded this composition using the massive reverb of that space and the results are simply jaw-dropping. Imagine the most Nordic bellow from a Wagner symphony stretched out into its melancholic, raw sound and allowed to decay in space and time. Wow!
Following this is the aforementioned Mantra; and then Soundmatters' final piece which explores a quiet, yet thoroughly rich
harmonic tapestry produced by a quartet of saxophones that could be Laporte's imagined summit between Evan Parker and Morton Feldman with rasping breaths of sound breaking across a silent event horizon with the ghostly energy of subatomic particles flickering and dissolving
in a cloud chamber before amassing into a delirious swarm of Tony Conrad-esque acoustic dissonance. It's all utterly magnificent and
one of finest collections of 'serious' composition that we've come across." [Aquarius Records]
www.23five.org