Track Listing

1. Provenance
2. Touch of Heartbreak
3. Orffyreus
4. Tempest
5. Colonnade
6. Jour et Nuit

Product Details

• Amazon Sales Rank: #155748 in Music
• Released on: 2008-06-02
• Number of discs: 1
• Format: Import
• Dimensions: .11 pounds

CD Description
Following up PERIPHERY with IN BETWEEN WORLDS, Canadian experimental composer Christopher Bissonnette continued his obsession with incidental sound on his second record for Kranky. Slightly darker in tone than PERIPHERY, IN BETWEEN WORLDS explores the sonic realities of life in an urban center. Butthis record is hardly about cacophony. Bissonnette makes silence his most effective instrument by giving each sound splash a near empty canvas on which to occur and dissipate.

Customer Reviews

misunderstood genius
I was flicking through some albums when i notice the 2 star rating by J.capeling of Christopher bissonnette's In between Words album which happen to own and love. I started to read his review and felt quite incense at his clearly missed opportunity to enjoy such a great piece of experimental space music.I have both track 1 and 2 on my ipod and listen to them nearly every day (they are part of a much larger compilation),these 2 tracks blow my socks of every time i hear them, they get my imagination flying and have me transported to some wonderful galactic space.Even if some of the tracks were weaker than others i would still by this album just for tracks 1 and 2 they are that good.Artist's like Christopher Bissonnette, inbetween interval and even Tim Hecker are modern twists on the space genre, Tim Hecker in-particular is at the cutting edge of what can can be done with sound to stimulate the mind, he's a genius but not everyone will get him that's the way of the world i guess. Anyway enough said, keep it real, just !!.

One man's exploration of orchestral sub-space, non-sound and daily acoustics - Zzz
A number of my friends have suggested that I have ADHD. I've laughed about it with them and they have looked back at me, ashen-faced, silently insisting upon the gravity of their words. Well I don't believe in ADHD and I challenge anyone with even a slightly active mind to attempt to listen to this record throughout - free from pharmaceutical aids or the effects of a particularly peaceful orgasmic aftermath - without skipping at least one track.

I challenge you not to feel a little ripped off when you realise you've just spent your hard-earned cash on a CD of `found sounds', background noise and spatial acoustics. The first three tracks are practically one long synthesised, soothing drone. Tracks five and six threaten to turn into actual compositions, but never do.

I'm starting to think that Christopher's second outing is perhaps a trick being played on music journalists who are desperate to hold on to their credibility and terrified of missing the point; of not `getting' the artistic importance of this fenn-like soundscape. It's beyond mere pretentiousness to the extent that I'm inclined to say that `I see what he's doing', but I'm not sure that I could actually qualify that statement with anything. Suffice to say that I know what he thinks he's saying, but I'm not sure that he is.

To be fair, though not particularly reassuring, it's not in any way offensive: it's a peaceful, calming, womb-audiosphere in which I could happily embrace a sky-blue tinted, Benzedrine hangover. It's reminiscent of the soundtrack to Myst or Riven: those early Nineties, alternate reality wilderness games on Mac and PC. I can't remember their actual soundtracks, but this seems a good fit. I just can't actually see anyone actually listening to it. But then, that is entirely the point: it's about what you hear, not what you listen to.
I guess he made his point, after all.

J Capeling