(Musique Concrete, Experimental, Electroacoustic) Robert Normandeau - Lieux Inouis - 1990, FLAC (tracks), lossless

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Путь: ...\1990-Lieux Inouis [Empreintes DIGITALes IMED 9002]
1 -=- 01 - Jeu.flac -=- CDDA (100%)
2 -=- 02 - Memoires vives.flac -=- CDDA (100%)
3 -=- 03 - Rumeurs (Place de Ransbeck).flac -=- CDDA (100%)
4 -=- 04 - Matrechka.flac -=- CDDA (100%)
5 -=- 05 - Le cap de la tourmente.flac -=- CDDA (100%)
Сводка 100,00% CDDA
167711012

Jeu was produced in 1988/89 at the studio of the Groupe de Musique Exprerimentale de Bourges (GMEB), France, and at the studio of the Universite de Montreal. It uses excerpts of Karlheinz Stockhausen's Hymnen, music of guitarists, percussionists and accordionists of the Paris metro and viderunt omnes by Perotin.
Memoires Vives was reworked for this release in 1989 at the studio of the Faculty of Music of the Universite de Montreal.
Rumeurs was produced at the studio Metamorphoses d'Orphee in Ohain, Belgium in June, 1987.
Matrechka was realized between 1984 and 86 at the studio of the Universite de Montreal and the composer's studio from sound material created for six holosculptures of Georges Dyens.
Le Cap De La Tourmente is part of the five soundtracks from "Musique Holographique". It was realized at the composer's studio in 1985.
First edition limited to 20 numbered copies plus 7 private numbered copies (HC-1 to HC-7).
Comes with 20-page booklet.
"Jeu" (1989) in five sections: Rules of the game; Movements of a mechanism; Things to play with; Playing styles; Joys of playing.
"Memoires vives" (1989).
"Rumeurs (place de Ransbeck)" (1987). To Annette Vande Gorne.
"Matrechka"(1986) In seven sections (Chaos; Grey steel; Ultramarine; Burnt sienna; Cobalt blue; Purple; Umbre). To Lucie.
"Le cap de la tourmente" (1985). One of the five soundtracks from "Musique holographique" (1985).
Allmusic.com review by Caleb Deupree:
Robert Normandeau's releases Tangram (1994) and Figures (1999) have established him as one of the leading exponents of musique concrete in the 1990s. Lieux Inouis was his first release, and received a much needed remastering in 1998. Many of his interests were already present in the late '80s when all of these pieces were composed. His use of commercial sound recordings, similar to fellow Canadian John Oswald, from Tangram's Tropes (Mozart) and Figures' Ventures (pop music) is presaged here with "Memoires Vives," a slow-moving and ominous requiem with long sustained tones, composed primarily using requia from renaissance composers Mozart, Berlioz, Faure, Ligeti, and contemporary concretist Michel Chion. His diverse assemblages of recognizable sounds, transformed slowly into something new, are heard throughout his work, but form the central theme of both "Rumeurs" and "Matrechka." The sound materials on "Rumeurs" (meaning both rumors and quiet noises in French) are more recognizable. An unstated homage to pioneers Pierre Schaeffer and Pierre Henry, the opening and closing moments of "Rumeurs" include creaking doors and trains. In between, the listener is treated to a multitude of radio broadcasts, field recordings, and musical excerpts. "Jeu" and "Matrechka" are multi-part pieces exploring sonic transformations on multiple levels, complex pieces which reward repeated listening. "Jeu" specifically deals with games and play (the liner notes have many phrases with the French word, all of which are explored in the piece), and even incorporates the croupier from Karlheinz Stockhausen's masterpiece Hymnen. "Matrechka" is slower, investigating the transformations at a deeper level. The album closes with a relatively straightforward, almost ambient piece, "Le Cap de la Tourmente," that originally accompanied a holographic exhibit.

Artwork By [Computer Graphics] – Patricia A. Vrobel
Mixed By [Assistant] – Alain Roy (tracks: 1a to 1e)
Other [Artistic Direction] – Claude Schryer, Jean-Francois Denis
Photography – Bernard Prefontaine
Technician [Digital Audio Transfer] – Peter Cook (2)