Born in 1977, Charles-Emile Beulac spent part of his
formative years learning the violin, flute and trumpet,
before turning to synthesizers and sequencers when he
was just fourteen, progressively experimenting with
electronica and ambient as he grew older and discovered
the work of artists such as Autechre,
Boards Of Canada and Brian
Eno. After having one of his compositions selected to
feature on Worm Interface’s Alt.frequencies
Vol. 4, a handful of labels manifested interest
for his music, including Skam and Plug Research. He
finally settled for Law & Auder to release his first
album, Nothing Down-To-Earth,
as Galerie Stratique. Two years on, he returns with
his second opus, Horrizzzons, published on
newly formed Quebec City Statik Distribution.
Working almost entirely from analogue synthesisers and
deliberately not incorporating any samples in his compositions,
Beulac creates an often autistic form of electronica,
evolving within its own scope and apparently refusing
to communicate with the outside world. Evoking in turn
the melancholy of Boards Of
Canada, the vast spaces of Biosphere
or old school electronic experimentations a la Tangerine
Dream or Brian Eno, the music has evolved from the aquatic
themes of Nothing Down-To-Earth
to something more earthy and palpable on here. If the
compositions appear slightly uniform at first, the soundscapes
rapidly open up to reveal stunning melodies wrapped
in blankets of warm analogue tones and textures and
richly contrasted layers. The impression of space is
partly created through sonic and structural cohesion
as Beulac cleverly articulates various elements of his
music to form and alter the general mood of this record.
In turn throwing himself into psychedelic dreams (Trains
Sous La Pluie, Horizons Lointains, Ciel
Infini, Kaleidoscope, Grand Kaleidoscope),
or more subtle and grounded moments (Été
Éphémère, Jolie Cycliste
Sous La Pluie, Toundra), Beulac constantly
alternates between emotions to create beautifully cinematic
sequences. Although the majority of this album is the
fruit of Beulac’s solitary explorations, Scorbut
sees him joined for a moment by Bellow The Sea drummer
Pascal Asselin.
Charles-Emile Beulac creates with Horrizzzons
a superb diary of his travels through sounds and ambiences
inspired by the vast plains and long winter nights of
his native Canada. Yet, far from being a collection
of arid electronic compositions, this album is warm
and inviting, and manages to captivate the listener
from start to finish. Building on the soundscapes and
atmospheres of Nothing
Down-To-Earth, Horrizzzons appears
more mature and focussed both in its melodic themes
and sonic ambiences as Beulac develops a unique form
of impressionist electronica.
4.6/5 |
