Quebec's William Jourdain is back with a second release for Montreal's Constellation Records. Given that he's paired his modular synthesizers with a noisy palette of field recordings, he's delivered a surprisingly smooth seven-track album.
For a good number of music lovers, glitch electronics will be remembered as the sound of this decade; the genre's mix of futurism and dystopic reliance on found sound speaks to both the tech capabilities available to today's artists and the nature of the times.
Glitch's hyper-relevance infuses many of its recordings (the good ones, anyway) with an outsized significance — And deservedly so. It's no surprise that some of the most interesting production techniques in today's popular music can be traced back to home studios like the one Jourdain has built in Saint-Hyacinthe.
Transit draws on recordings from local forests, caves, waiting rooms and what the album's notes describe as "ex-urban 'non-places.'" That sounds random, but in fact Jourdain is able to stitch it all together evenly, providing listeners a purely artistic interpretation of the world he lives in. This is both what Saint-Hyacinthe sounds like — to Jourdain at least — and what it can sound like in the hands of an adept creative.
(Constellation)For a good number of music lovers, glitch electronics will be remembered as the sound of this decade; the genre's mix of futurism and dystopic reliance on found sound speaks to both the tech capabilities available to today's artists and the nature of the times.
Glitch's hyper-relevance infuses many of its recordings (the good ones, anyway) with an outsized significance — And deservedly so. It's no surprise that some of the most interesting production techniques in today's popular music can be traced back to home studios like the one Jourdain has built in Saint-Hyacinthe.
Transit draws on recordings from local forests, caves, waiting rooms and what the album's notes describe as "ex-urban 'non-places.'" That sounds random, but in fact Jourdain is able to stitch it all together evenly, providing listeners a purely artistic interpretation of the world he lives in. This is both what Saint-Hyacinthe sounds like — to Jourdain at least — and what it can sound like in the hands of an adept creative.
