(Electroacoustic) Francis Dhomont - Cycle Du Son - 2001, FLAC (tracks+.cue) lossless

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XLD extraction logfile from 2010-09-15 16:20:43 -0400
Francis Dhomont / Cycle du son
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        4  | 42:49:33 | 12:42:42 |    192708    |   249899
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TITLE "Cycle du son"
PERFORMER "Francis Dhomont"
CATALOG 0771028015825
REM GENRE "electroacoustic"
REM DATE 2001
REM DISCID 240D0404
FILE "01 Objets retrouvГ©s.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Objets retrouvГ©s"
    ISRC CAD500114540
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "AvatArsSon"
    ISRC CAD500114560
    INDEX 00 05:19:73
FILE "02 AvatArsSon.wav" WAVE
    INDEX 01 00:00:00
  TRACK 03 AUDIO
    TITLE "Novars"
    ISRC CAD500114570
    INDEX 00 18:10:28
FILE "03 Novars.wav" WAVE
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "Phonurgie"
    ISRC CAD500114570
    INDEX 00 19:06:09
FILE "04 Phonurgie.wav" WAVE
    INDEX 01 00:00:00

This disc was produced with the assistance of the Canada Council for the Arts and SODEC.
"Cycle du son" premiered on November 22th, 1998 as part of the 5th "L'espace du son" Festival acousmatique international in Brussels, Belgium.
"Novars" was included on the "Mouvances-Metaphores" 2 disc set in 1991 and re-released on "Les Derives du signe" in 1996.
"Phonurgie" was included in 1998 on the "Inventionen '98" disc and in 1999 on the "III CIMESP 1999" disc.
from electrocd.com:
This ‘Cycle’ celebrates sound (a major discovery of the twentieth century) and concrete music. It is a fiftieth-anniversary homage to the inventiveness of Pierre Schaeffer, who clearly created an upheaval in the world of music that has had no precedent. Drawing on the same sound material which was forged from the first movement of Schaeffer’s Etude aux objets, as well as from a personal collection of sounds that have been stored away over the years, these four pieces go through a process where they develop out of each other, question each other, echo each other, and complete each other through allusions, commentaries, metonymies, and continuations. With poetic freedom they both evoke a historic journey and propose a connection between the object of sage Schaefferian observation and the wildest “metamorphologies” of sound art. Years after its composition, Novars, the third part of this cycle but the first to be composed, remains the section around which the entire work turns.