Canadian electro-acoustic composer Paul Dolden were able to function from within the musique concrète institutions despite the fact that his art must have placed him at its very margin. Known mainly for what continues to be coined his “esthetics of excessive,” he stirred the normally very relaxed waters from the genre along with his functions for tape where he hemorrhoids up a huge selection of levels of acoustic tools. His two-CD arranged L’Ivresse de la Vitesse continues to be a vintage of fin de siècle electro-acoustics. Created in 1956 in Ottawa (Canada), Dolden analyzed in Vancouver, where he still resides. Initially a power guitarist, cellist, and violinist, he toured across Canada and European countries. This hands-on encounter with “actual” instruments clarifies his decision to strategy tape music minus the usage of acousmatics. The composer will not use the regular ways to mold the noises. He functions instead by build up, mixing together as much as 500 songs of individually documented instruments, to be able to have the textures he desires. The 1990 Tronia Compact disc The Threshold of Deafening Silence offered his first outcomes and sent a short shockwave in to the educational musique concrète community. L’Ivresse de la Vitesse (Empreintes DIGITALes, 1994), an extended and much more conceptualized recording, consecrated him as a respected figure in audio artwork. He was asked to numerous celebrations, had residencies in the Groupe de Musique Experimentale de Bourges in France as well as the Electronic Music Studio room in Sweden, and received an impressive amount of honours since his 1st methods in 1981, including three 1st prizes in the Bourges International Electroacoustic Music Competition (in 1986, 1988 and 1990). Dolden collaborates frequently with artists from the Vancouver songs scene. He published for John Kosrud’s Hard Plastic Orchestra and helped Francois Houle for the tape section of his conceptual recording Au Coeur du Litige.