Originally a saxophonist and later a bass clarinetist, versatile Montreal musician Philippe Lauzier works as well with the less conventional instrumentation of sound art. On two recent releases, he delves into both sides of his creative work.
In A Pond in My Living Room, Lauzier offers four substantive pieces for solo bass clarinet. Composed and recorded in winter, 2016, each piece features the acoustic instrument multitracked and with no electronic treatments added. The four tracks fit together like a suite of drone pieces, each moving slowly to reveal changing patterns of overtones and emergent harmonies. The timbres are such as to give the impression of an acoustic simulation of electronic music—so much so that when the sound of breath makes a sudden appearance, it feels almost like an intrusion.
DÔME, a release on cassette, finds Lauzier on an alternative path. Here he works with a sound installation consisting of bells, zithers, motors and a Korg synthesizer. The installation was created for Montréal’s La Passe, where these two seventeen-minute-long tracks were recorded on 31 July 2015. Although conceived as drone-based works, both pieces draw attention to their variegated textures rather than to an underlying constant of tone or texture. Far Side is a shimmering, iridescent metallic jangle shot through with the semi-pitched chirps of small motors and scraped zither strings that ends with a call-and-response for small bells. Far Out, which rides an undertow of ringing alarm clock bells and a sustained electronic tone, is closer to a more conventional drone piece. But it too centers around subtle changes in texture driven by a series of discrete, layered events for scraped or brushed zither and whirring motors.