In a beautiful "style exercise" far removed from anecdotes or any type of realism, "Primitive" by Patrick Ascione presents an interesting reflection on the essence of computer-acoustic art itself. Some time ago, Pierre Boulez wanted to name one of his works after a painting by Klee: "At the Border of the Fertile Land." Listening to this piece, you actually have the impression of standing at the entrance to a land of promises - it is so rich in virtual events that you hardly know where to begin making use of them. In "Primitive", you first experience the development of completely heterogeneous sound objects, from nearly saturated, ponderous to sharp, pointed; from the most stable to the most flexible; from the most ethereal to the most rounded and voluminous. Intangible, fleeting figures seem to be constantly circling. The form seems to be hidden, and yet the direction of the whole is perceptible as being constantly present. The stress on the importance of a masterful projection is quite evident - especially shortly before the end, where you hear the space opening up before a brilliant, dynamic and devastating finale.
Jacques Bonnaure