Original music for the exhibition/performance/installation LUEURS ONIRIQUES by visual artist Manon De Pauw in a collaboration with choreographer Pierre-Marc Ouellette. Photo of Manon De Pauw installation by Guy L'Heureux.

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Collaborations with poets/vocalists around the theme of science fiction and it's anchor to our reality. Featuring Beans, Av3ry, Gabrielle HB, Eleuthera, Léa Boudreau, Dubline, Pierre Alexandre Tremblay, Dominic Thibault. Mastered by Alexandr Vatagin.

«  a uniquely surreal sound collage  »
- Electronic Sound [Issue 90]

Original music for a performance from Manon De Pauw (visual art) and Pierre-Marc Ouellette (danse) + 2 music for short pandemic videodance created for the web by Pierre-Marc Ouelette.

«  This EP is quite the ride so toughen up and strap yourself  »
- The Slow Music Movement

Soundtrack for the animation film M. Carreaux directed by Marie-Hélène Turcotte. embuscadefilms.com/m-carreaux

«  Minimaliste, cinématographique.  »
- Signal intermittent

Adaptation for ten oscillators of two seminal early electronic music pieces. First is an excerpt of 'Jar Piece' composed by Pauline Oliveros in 1966 followed by 5 movements of 'Faust' composed by Else Marie Pade in 1962. This process of transcription and interpretation is detailed in the 145 pages book accompaniying the release.

«  The music itself is quite remarkable  »
- Boomkat

«  a huge accomplishement  »
- Damian Van Denburgh

Nicolas Bernier usually does not write with words, but with sounds. For a decade, the sound of the tuning fork was at the center of a creative cycle composed of ten works shared between musique concrète, sound performances, instrument making, photography and installation. Accompanied by texts [in French] by physicist Dominique Bernard and curators Marie-Hélène Leblanc and Damien Simon, Nicolas Bernier delivers the premises which led to these works around the tuning fork.

«  Nicolas Bernier réalise un ouvrage didactique par sa clarté et poétique par son iconographie. Une réelle invitation à découvrir l’œuvre !  »
- Stewen Corvez

«  L’artiste présente au lecteur un surcroît de matière et de réflexions à travers neuf brefs chapitres augmentés de citations textuelles et d’une riche iconographie.  »
- Fanny Gribenski, Revue Circuit

The piece frequencies (a / archives) is a composition based on sounds from the scientific archives of Rennes 1 University (France). This impressive collection of antique scientific apparatus includes one of the few remaining "Grand Diapason" built by Rudolph Koenig circa 1880. The piece is metaphorically building a sonic bridge between past and present, like a lullaby in memory of those scientists, inventors and objects to whom we owe the history of sonic research. Mastered by Alexandr Vatagin.

The artist also took that project as a performative gesture, giving away is own collection of tuning fork with the (sold out) limited edition of the CD. Each tuning fork was unique and packaged with a laser cut acrylic base with the frequency engraved.

The first four compositions interpreted by the ensemble of ten old school analogue oscillators founded in 2016 by Nicolas Bernier. Four completely different takes on the same reductionnist sound matter : the sine wave. The beating pattterns, articulations, slow ascenscions and internal rhythms imagined by the composers are interpreded following graphic scores, producing a lively music despite de austerity of the instruments. Compositions by Kevin Gironnay (FR), Francisco Meirino (CH), Xavier Ménard (CA) and Candas Sisman (TR). Mastered by Alexis Langevin-Tétrault.

«  compelling sonic sinewaves  »
- Toneshift

Transfert/Futur is marking a shift from Nicolas Bernier’s rather reductionnist approach of the previous frequencies series to a more expressive an colourful aesthetic. Drawing from science fiction, sound textures are artificialized within abundance of synthesizers superimposed, creating exceptionally organic compositions. This record is a transfer into an hypothetic future. Mastered by Dominic Thibault.

« brittle and mercurial post techno tones in polymetric structure  »
- Boomkat

frequencies (sound quanta) is the audio version of sound and light installation frequencies (light quanta), inspired by basic quantum physics principles : particles, probabilities, wave/particle duality and discontinuity. Structured around these notions, the composition stems from 100 sound fragments that develop themselves aleatorically, generating an ever expanding, disruptive form.

« Truly on the cutting edge of digital experimentation [...] an immersive experience. »
- Beach Sloth Magazine

frequencies (a / fragments) is based on sound fragments that lead to the sound and light performance frequencies (a). These sounds are generated with a system of custom made device enabling to computer-control tuning forks with solenoids. The results is articulated with synthetic sine waves, creating frictions between the acoustic and electronic elements. Mastered by Taylor Deupree.

« Tonal generation and digital processing that go straight to the synapses »
- Cyclic Defrost, AU

Nicolas Bernier's first piece entirely made out of synthetic sounds, breaking with his musique concrète/field recording tradition. The result comprised 15 short movements of warped and crackling textures, of vividly articulated sine wave and of rythmic pattern bursts m ade to be listened to in random mode. Mastered by Giuseppe Ielasi.

« It crackles, rumbles and grooves. [...] 24 minutes, 15 very short tracks to be listened to in random mode, a surprising record. »
- Monsieur délire, CA

Double album, the first part being ‘Music For A Piano’. The second part ‘Music For A Book’ was written as a soundtrack for Marc-André Moutquin's third novel ‘Entre l’aurore et la nuit’. Mastered by Thierry Gauthier.

« an incredible place to be  »
- Norman Records, UK

Mostly known for his performances, installations, and atmospheric music, he signs here a first album of pure musique concrète. We will again find his clever amalgam of aesthetic influences to which he has accustomed us, but in his most daring bill. Mastered by Dominique Bassal.

« vibrant music, swiftly moving about with a great sense of drama.  » - Vital Weekly, NL

« a highly complex soundworld [...] not a single second of downtime.  » - Monsieur Delire, CA

An expressive mix of lively field recordings, tiny and massive electronics and sparkling relocations. The docker barks out aloud, the little insect crawls through the 19th century woodworker's atelier, forgotten voices vanish and the rest is no silence. Mastered by Rashad Becker.

« utterly compelling  » - The Wire, UK

« crunched abrasions and eerie footsteps, ruptured by ghostly noises. Excellent, through and through!  » - Aquarius, US

strings.lines came to life from an obsession for old and forgotten object, the tuning fork. Between the new and the old, the composition developpe itself like a series of thin to thick lines in a dialogue between the tuning forks, the strings and the digital. Viola da gamba : Pierre-Yves Martel. Violin : Chris Bartos. Mastered by MC.

« Sublime.  » - Boomkat, UK

« a marvellous recording  » - Cyclic Defrost, AU

The Dancing Deer is a « pop concrète » collage, rhythm being the cornerstone of the work, built around a constant pulse. It brings together elements of drones, clicks, minimalism, maximalism, song writing, poetry, post-rock, electronic and instrumental music in a strange atmospheric collage. The project is a musical translation of months spent in the Canadian West.

« dreamy and destabilizing  » - Monsieur Délire, CA

« totally unusual and exceedingly strange  » - Boomkat, UK

courant.air is a work intertwining folk acoustic guitar and electronic music. Conceptually, the piece is wind powered. Wind is used as a constructive/destructive agent. Wind as a propulsion engine of particles in constant movement in the air. Wind as noise. Wind as sound, invisible. Acoustic guitar : Simon Trottier.

« one of the more engaging electroacoustic pieces I've heard » - Emissions.com (US)

silence.musique is an essay on silence.

ultra limited surround sound DVD edition, 60 copies.

Sonic landscapes and slow textures meet with precise articulations, resting on a minimal orchestration made of guitars, brass instruments, vibes, accordions and strings. A stimulating record, a remarkable attention to detail and excellent production quality, making for an unfailingly rewarding listening experience. Mastered by Paul Dolden.

Mention Prix Ars Electronica, 2009, AT

« an amazing CD, with great ideas, perfect execution » - Vitral Weekly, NL

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