Even if "Interieurs harmoniques" is officially her debut album, it's quite clear since the first seconds of listening that NYC-based composer Elizabeth Hoffman is not a callow improviser and the fact her solo-release comes out on Canadian label empreintes DIGITALes, one of the most appreciated in the field of electroacoustics and acousmatics by many demanding followers of the genre, is fairly meaningful. Once the listener can easily ascertain her skillfulness in modelling mainly percussive sounds, related to her passion for electroacoustics, which has been accrued over many years of academic background, the most remarkable aspect of Elizabeth's sound maybe lies in the fey facets of her visionary (lasting about ten minutes each) sound collages. Listener's imagination immediately meets its match in the intial (and most recently recorded) track "Resonants", where the seducing texture of bells, glockenspiel and cymbals seems to echo back listener's phosphenes after closing eyes and the following movement could be associated to a fictitious pebble nearby the rail in the act of listening the coming, the arrival and the departure of a train in the subway. This imaginary ear-transplant or cochlear implant into a molecular entity could be imagined while listening to "Water Spirits" - listeners could easily think about the vicissitudes of a water particle since the moment it arrives on earth from a storm cloud, which travels across conduits, sewer pipes, sinks, entrails and viscera afterwards - and "Songstressed" - its listening could let you think about microphones on a particle of dust which during its mishaps falls into a bird's syrinx! -. Similarly fictional microscopic journey could be inspired by remaining tracks: "Allamuchy" reminded the initial track of Autistici's "Beneath Peaks" I recently reviewed due to the recordings of different moments (including a nap), which have supposedly been recorded in the natural set of Allamuchy wood in New Jersey, while "D-ness" sounds like the sonic translation of some emotional set which could'nt be explained but through sounds. The effected squeaks and every tessereas of the sonic mosaic of the final "Soundendipities", which costantly sounds on the edge of a cliff, closes this interesting listening experience with a sinister note of acousmatic self-irony indeed!