releases

mat-composé
They all make perfect sense, a fine, balanced audio picture. Sounds […] are placed with great essay help care in the right spot.”  – Vital Weekly #620

“… being more interesting in reality that in theory. And rarely does new music swing so subtly.” – Musicworks #104

“Dufort paints this changing sonorous space with a minimum of means, soundwise, which makes it all the more startling.” – Loco Nordin

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swarm

” Louis Dufort proposal deals with the inner structure of sound matter. He places sounds under his unique microscope to show us the different frequencies, reflections and elements each sound contains. This approach is able to focus all our attention on the sounds themselves, instead of being treated as elements of a structure that encompasses them and gives them a specific meaning obtained from their place in the structure.” –Störung

” For the Americas, Montrealer Louis Dufort segues beautiful soundscapes with heavily processed electronic transmissions.”
–Celtic Defrost

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connexion

“… four dazzling dramatic compositions…” – The Wire #206

“… hybrid and unbridled musical experimentation…” – L’entrepôt

“An education for the ears and a tonic for the mind…” – Flux Europa

“Strong electronic music full of tension.” – Sztuka Fabryka

“Quebecois electroacoustic music has earned a place in the hearts of avant-garde music lovers everywhere…” – François Couture

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mtlsoundmatter_2
“… these soundscapes are notable for their subtle mixture of foreground and background.” – The Whole Note #14

“… triturés à l’extrême […] une tapisserie sonore […] de la transe au bruitisme et du réalisme à l’abstraction.” – Voir

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trans-canada
“Gute Lautsprecher bzw. Kopfhörer sind Voraussetzung, dann entsteht die gewünschte Räumlichkeit und viele der Stücke entfalten — auch schon beim ersten Durchlauf — eine enorme Präsenz.” — Nonpop (Germany)

“Le Canada aussi, est terre d’électroacoustique et de paysages sonores.” — musicareaction (France)

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mtlsoundmatter_1
“All artists involved were […] wandering through the city and recording its breathings, mutterings and utterings, hollers and whispers.” — Tokafi (Germany)

“… une résonance du pouls d’un environnement urbain, une manière de reconsidérer les rapports avec l’espace…” — Revue & Corrigée (France)

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archange
“L’archange is obviously a very hard and tense piece with powerful performance and visual elements. […] the most tangible proof of the effectiveness of a performance is the incredible silent silence that floats in the room between the judge’s last strike of the gavel, and the beginning of the applause.” – Patrick Mathieu

“L’excès même de l’opéra. Cet ensemble opératique nous envoûte. Car l’effet de cette œuvre sur le spectateur est indéniable. […] une performance magistrale dont on ressent immanquablement toute la force. Le lieu et son exploitation par la scénographie y sont aussi pour beaucoup. La musique qui les soutient est en constante convulsion. Persistante, obsédante, elle est un véritable flux sonore. Elle sait rendre tout l’excessif de ce projet d’opéra, fondé sur un registre du débordement et du chaotique.” – ETC

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noroit

granulation
L’orchestre de granulation was a longtime dream project of A_dontigny. After many failed attempts due to lack of funding or of an appropriate venue, L’orchestre de granulation finally took the stage on October 18, 2003 for a unique performance at the Rien à voir (14) concert series. The result? A surprisingly coherent 32 minutes composition, featuring seven daredevil improvisers using granular synthesis processing. The original performance was spatialized on a 24-loudspeaker orchestra by Louis Dufort.

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excitations
“eXcitations does a good, if not fantastic job.” — All-Music Guide (USA)

“… the extracts presented can seduce beginners…” – ICI

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franksymphony
“A hybrid thing in four movements, made of cut-up pieces, pasted, assembled, sowed parts that are alike and contrasted, and that I have named, for obvious reasons, the Frankenstein Symphony: an unusual electroacoustic adventure. Armed with a scalpel and a splicing (operational) block, I sampled several morphological organs from the the works of 22 composers and friends (many of whom were students of mine), and with their imprudent blessings (on a stormy night?), brought to life this little acoustic monster which I hold particularly close to my heart.” —FD

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