» » Randall Smith - L’Oreille Voit
Randall Smith - L’Oreille Voit Album

Randall Smith - L’Oreille Voit Album

Performer: Randall Smith
Title: L’Oreille Voit
Style: Experimental, Abstract, Musique Concrète
Released: 1994
Cat#: IMED - 9416 - CD
Country: Canada
Label: Empreintes DIGITALes
Size MP3 version: 2935 mb
Size FLAC version: 2885 mb
Size WMA version: 2644 mb
Rating: 4.4
Votes: 661
Genre: Electronic

Randall Smith - L’Oreille Voit Album


2The Face Of The Waters9:40
3The Black Museum15:05
5La Volière12:58


  • Composed By, Liner Notes [Program Notes By The Composer]Randall Smith
  • Producer [Artistic Direction]Jean-François Denis
  • Producer [Production]DIFFUSION i MéDIA


La Volière
The Black Museum
The Face Of The Waters

Œuvres éditées par / Works published by YMX MéDIA (SOCAN), Montréal, 1994
© Randall Smith, 1988, 90, 91, 93, 94 (SOCAN)

Imprimerie / Printing
Lithochrome Boulanger, Montréal

Pressage / Pressing
Disque Améric, Drummondville

Fabriqué au Canada


  • Barcode (Text): 7 71028-9416-2 9
  • Barcode (String): 771028941629
  • Matrix / Runout (Mirrored): DISQUE AMERIC 07KL3<152>IMED9416
  • Rights Society (Performance rights): SOCAN


  • Copyright (c) – Randall Smith
  • Phonographic Copyright (p) – DIFFUSION i MéDIA
  • Published By – YMX MéDIA
  • Printed By – Lithochrome Boulanger
  • Pressed By – Disque Americ


L'Oreille Voit The Ear Sees was Randall Smith's first CD. Released in 1994, it gathers works created between 1988 and 1994. His constructions include a lot of movement, something that translates into the titles of works like La Volière The Aviary, Ruptures Breaks, and Counterblast. This sense of movement gives life to the compositions in a way similar to what can be found in Francis Dhomont's works: ample, calculated gestures of swirls and crescendos that lead somewhere as opposed to Gilles Gobeil's escalato. Randall Smith. L' Oreille Voit. CD - Empreintes Digi IMED-9416. Overview . You may submit artist- and album-related corrections to the TiVo data team by following the steps on this page. For other feedback please visit our GetSatisfaction page. Please note that we cannot respond to address or phone information requests for any person identified in our database, nor can we forward fan mail. Listen free to Randall Smith l'oreille voit La volière, The black museum and more. 5 tracks 55:14. Sondes empreintes DIGITALes, IMED 9948, 1999. L'oreille voit empreintes DIGITALes, IMED 9416, 1994. The Black Museum 1993. Collision 1996. Continental Rift 1995, cello, and tape. Convergence 1998, accordion, and tape. CounterBlast 1990. Elastic Rebound 1995. The Face of the Waters 1988. Fleeting Wheels of Changes 1987. Randall Smith Windsor, Ontario, Canada, 1960 began composing initially with experimental film, working with filmmakers living in his hometown of Toronto. In 1987 he composed his first solo tape piece, Fleeting Wheels of Changes. From this point until 1995 Randall Smith composed purely electroacoustic music. In 1992 he began to study the violin under Eugene Kash. Unknown to him at the time the real direction that this would lead to would be the writing for instruments and tape mixed electroacoustic music. In 1995, after meeting cellist Daniel Domb, he composed his first mixed piece Continen. Southern Soldier - Randall Smith. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. For other people named Randall Smith, see Randall Smith disambiguation. A major contributor to this article appears to have a close connection with. List of works. Just better. Randall Smith - Significance: How do you measure a man One Hour. One Book: Revelation. Randall Smith is one of the lesser-known Canadian electro-acoustic composers - and it's a shame. His music surely equals that of Gilles Gobeil or Robert Normandeau. Fascinated by the cinematographic possibilities of acousmatic art, Smith approaches the genre with a lack of pomposity and a playfulne. Randall Smith - LOreille Voit Empreintes DIGITALes IMED 9416, 1994, CD. Latest news. 2020-06-14 Keith Tippett RIP One of the giants of British jazz has left us. The band's 1968 album S. Sorrow is one of the enduring classics of the psychedelic era, and the group existed in various forms until finally retiring in 2018. Read more. 2020-05-14 Jorge Santana RIP Jorge Santana, noted guitarist, leader of the band Malo and brother to Carlos Santan, died on May 14 at the age of 68

There was a brief period between the mid-90s and the early Y2K era when I got quite intrigued by electro-accoustic and musique concrete "music". I had originally described these artforms as noise without distortion pedals due to the seemingly unpredictable and chaotic nature of these sounds when absorbed by the untrained ear, coupled with the fact that there was a distinct lack of melody and rhythm to these "musics", let alone recognizable formulaes and patterns.

"Empreintes Digitales" offered quite a series to satiate the need to feed one's aural curiosities, as not only was the label's main warehouse and distribution located in downtown Montréal (back in the day), but some of their releases were specifically marked down in price, making it rather affordable to enjoy these sound explorations, albeit in a pre-recorded format.

There are those who will sing the praised of the grandfather of all accousmatics Francis Dhomont, or those who will hail Luc Ferrari as the true pioneers of the genre, even mention Robert Normandeau's body of work as a veritable reference point, but as I continued to dive into this world of "anti"-music compositions, Randall Smith's "L'Oreille Voit" was quite rewarding at first listen and continues to this day to be a personnal reference point in terms of how such "music" can be almost accessible to those un-experienced in such abstract and non-conformist compositions.

"L'Oreille Voit" offers five pièces, each quite distinctive and unique when placed one next to each other, but are also a Strange cohesive narrative when listened to as an entire album, almost as if they are five parts of the same larger body, even if each the pièces was conceived at different intervals.

"La Voliere" has a certain pitch of sound which reminds one of Strange bird-like formations, assembled in a way that automatically grabs the attention of the listener, as a way to introduce us to what is to follow. "The Black Museum" starts off as though it could be a more drone-like acheivement but also continues to surprise and take us on these short, spirited journeys through audio textures. "Ruptures" seems to reflect exactly what the title inspires, a series of disjointed and quite jarring mouvements which make sure no one will be able to ignore the piece, as it is nothing of not quite the non-background piece at all. "Counterblast" returns somewhat to the aesthetical construct of "The Black Museum", and also shares an element with said piece and the following one, the finale "The Face Of The Waters", in that these could almost be considered late-night radio stand-alone listening pièces. Meaning of course that you could easily play these pièces from one end to the next without much need to stay focused on the cut-off volumes to prevent overt distortion.

Trying to analyze or describe accousmatic "music" is like trying to find an objective way to present the artwork of an artist who'se own meaning and approach is generally lost to a world which has not been formed to accept these musical variations as anything but pure sound nonesence. While the study of elextro-accoustics is actually a serious one, for the most part, the majority of people of this world, exposed to years and years of force-fed commercial drivel through radio broadcasts, high-en Hollywood film productions, and constant advertisements of all media platforms, it is incredibly difficult to find common ground between the artists and composers of such works, and those who wish to enjoy it and appreciate it, let alone even pretend to understand it.

"L'Oreille Voit" is not one of Empreinte Digitales' most accessible works in the genre but it certainly resides, at least for me, as one of the best releases of the catalogue, and my only real gripe is the lack of releases by Mr Smith himself.