Interviews – PAN M 360

Television Overdose (or TVOD if you’re cool), first appeared on Vitta Morales’ radar a few years ago when the band played at the Dominion Tavern in Ottawa on one of their countless tours. Immediately, he was impressed by the captivating stage presence, catchy tunes, and the easygoing nature of these post-punk Brooklynites; he had the chance to ask them a few questions to singer and band leader Tyler Wright ahead of their debut album Party Time.

PAN M 360 : Since I’ve started following TVOD, (probably around 2022), I’ve always been impressed by the band’s dedication when it comes to its touring. In an era where bands increasingly forgo this model in favour of online audience cultivation, why does TVOD continue to tour so relentlessly? Is it simply in the spirit of punk to do so?

Tyler Wright : We love playing live and consider our audiences to be just as much a part of the show as we are. Sure, listening to records is great, and being a recording artist who chooses to forgo the live show experience for an online one can be profitable, but I honestly think they’re missing out on a huge element of music that makes live performances irreplaceable. When you’re at a live show, you get to be fully immersed in the world the artist is creating for you. Better yet, you get to experience that with other people, be it friends or strangers.

If the artist on stage is doing a good job, by the end of the show, everyone there should feel connected in some way. Live shows have this cosmic, crazy tendency to do that. Being together in the moment is something I think our society desperately lacks these days. We hope we’re a part of bringing that magic to our audiences and we look forward to playing a lot more wild shows with them in the future.

PAN M 360 : Staying on the subject of touring for a second: I recall a rather candid conversation I had with a TVOD member during a show in Ottawa where he exhaustedly said “I’ve been playing in bands for over twenty years.” I have to say, that stuck with me and I’m wondering: How do you deal with the fatigue that comes with being on the road after so much time? Any best practices?

Tyler Wright : Good lord, I don’t know who said, “20 years”! I might have been over-served that night and forgot how time works. I’ve been obsessed with music since I was a little kid, but I didn’t start playing in bands until 2013, when I moved to NYC. Tour fatigue is very real, and I’ve been a prisoner in more party jails than I can count. I think having best friends as bandmates and practicing self-care on the road helps immensely.

These are some of the rules and suggestions I try to follow while I’m on the road:

Fast food is poison (avoid at all costs).

Sleep as much and as often as possible. Same goes for showers.

It doesn’t matter who smelt it—it was probably Micki, our bassist.

Keep your shirt on when playing in Germany.

Call your wife.

If you see a sign that says “Peep Show,” it doesn’t mean they’re letting you look at presents before Christmas.

PAN M 360 : The singles from the new album so far have featured a lot more synth than in previous TVOD recordings; what other productions and arranging differences can listeners expect to hear on this debut full length?

Tyler Wright : Yeah, there’s definitely a lot more synth on this record. We made it at Gamma Studios with Sam and Felix, and they both had an insane amount of synths we got to mess around with. I think listeners can expect a wider range of genres this time, not just classic guitar power chord punk.

PAN M 360 : You’ve stated previously that the song “Uniform” from this album is about, among other things, the commodification of music and musicians as well as having to go to work while the world is falling apart. I’m curious to know: what is the importance of punk music, as you see it, during an era where everything is in shambles?

Tyler Wright : Punk music is a great vessel to use against oppression. It gives the middle finger to the ones in power and stands up for the little guy. In today’s toxic, capitalist world, I think the punk rock ethos is one of those guiding principles we should all look to for truth.

Punk preaches equality. It teaches us that no one human being ever deserves to control another. Innocent people are dying for greedy oligarchs and draconian governments. Stop purchasing your salvation and go to a punk show. Love one another. FUCK WAR.

PAN M 360 : What are some of your favourite cities to perform in and what do you like about them?

Tyler Wright : We love a lot of places we get to perform in. Montreal is definitely one of our favourites. The first time we played there, it was with our homies No Waves and Piss for Pumpkin at Bar Lesco. It was complete insanity. The Québécois know how to have a good time and then some. Our label Mothland is based there now, and it feels like we’re in Montreal all the time. We joke that it’s our second home. We always love going back to see all the friends we’ve made there. If you’re reading this—Hi Marilyne, JP, Philippe, Max, Rose, Sergio, Felix, Elian, Sam (owes me $20 CAD), Angel, No Waves Sam, Sy, Clarence, Grace, Noelle, Kenny, Alex, Melissa & Laurence! Miss you guys 🙂

PAN M 360 : Are there plans for other full lengths in the near future? I’m only guessing, but I understand that Tyler Wright first conceived of TVOD sometime around 2019 and I can imagine that a back catalogue of songs might exist.

Tyler Wright : Haha, yeah there are definitely plans in the works. I can’t stop writing or I’ll die. That’s the deal I made and the reality that I have to live with. I have no intention of ever breaking that oath.

photo: Kristin Solletico

Volcanic sax player, band leader, composer, improviser, performer, Mats Gustafsson is a regular at FIMAV and on Quebec’s avant-garde stages. FIRE! has already performed in trio form, but with a full orchestra for the first time. To overcome the financial impossibility of touring a large ensemble, FIRE! Orchestra developed the Community Based Activities (CBA) formula, inviting musicians from the markets where the group performs. As a result, 14 musicians from Quebec and Canada will travel to Victoriaville to rehearse ahead of the concert scheduled for May 17. Founded in 2009 by Mats and Johan Berthling, FIRE! is part free jazz, part groove, part psychedelia, part rock. Big Saturday ahead!

PAN M 360 : FIRE! , The Thing, Gush, Swedish Azz, Fake (the facts), Ensemble E, Cosmic Ear and more: is there a hierarchy of your artistic priorities across the bands you’re involved with?

Mats Gustafsson: Every project has its own focus and priorities. But with Fire! Trio and Fire! Orchestra we look at the groups as working groups – which means they are touring a lot and playing festivals and projects as well So, yeah – that is a priority right there. Swedish Azz and Fake (the facts) is on a pause. The thing is over for now. Ensemble E will try to make some festivals and projects in 2026 and 2027.

Cosmic Ear and the upcoming Backengrillen (with the founding members of Refused) will be touring and working as a prioritized group in 2026/27. I feel privileged to be able to work with so many great groups and artists. An amazing possibility to push the music deeper and further.

PAN M 360: You record a lot, your Bandcamp page is quite impressive ! Has this become a way of life, or is it simply a state of your high energy as a bandleader, composer and player ?

Mats Gustafsson: My Bandcamp is run by Trost and Catalytic and I am not really active here. I just don’t have the time to spend on such. I like to make records and I like to collect records. I like my music to be available – so, yes, Bandcamp is a good platform to find stuff. I try to hold back on releasing records that are just documents from live shows. I prefer to work on an album in a real studio with all what that means. At the moment there are so many great projects going on. Time is not enough. I try my best to keep sane in this immense flow of new projects and ideas. There is no other way than just put everything you have into it. All my dedication, love and energy have to go into these projects. No holding back. If the energy is not there, I rather stay home.

It is important to record the projects you are involved in. In order to make records and from there getting possibilities to work at festivals and clubs. In order to spread the music. There is no point letting your records just stay filed on a shelf somewhere. You bring them to sell / give away on tour. That is our responsibility towards the listener, as artists.

I love the act of making records. Making albums. Real albums with a track order, cover, liner notes, artwork and design. I am totally allergic to the one click / algorithms mechanics of today. Real albums for real people. Playlists are cassettes only.

PAN M 360: Over the past few years, what have been your most motivating projects?

Mats Gustafsson: Every project needs to be motivated. Otherwise, I would rather stay home. No question. If I don’t feel 100 % about a project it is put on hold or just stopped. I need to be totally true to the music and the people I work with. There is no other way. I need to find a balance between working groups / long-running projects (Fire!, GUSH, AALY Trio etc) and new projects and ad hoc situations. I need both. And one is feeding the other with content, energy and inspiration.

It has been a ball starting up some new projects in the last few years. “Cosmic Ear” and “Backengrillen” most of all.

Last week a new project started up: “Action Now” initiated by the great Norwegian bass player Nicolas Leirtrø together with Kit Downes on organ and Veslemøy Narvesen on drums. Hilarious. Next year will see the light of a great garage/ beat / free jazz group: “The Mag-Nuts” with the great Norwegian guitar slayer Hedvig Mollestad.

New shit will continue to happen. There is no lack of ideas, I can tell you that. No rest for the wicked. But it IS an amazing time for creative music. So many great younger players around at the moment.

PAN M 360: Your Cosmic Ear project is launching an album at the end of the month. Could you briefly describe this project and its members? How does it fit in with your other projects?

Mats Gustafsson: It fits like a hand in a glove! This is an old dream of Goran and myself. To create a smaller group setting where we can play together and very much to include our hero and maestro Christer Bothén. It took some years to decide…. And to find the perfect line up. Now we have it. Great without a regular drummer and just percussion. It opens up the music and gives a lot of space for the string instruments of Christer´s. We are picking bits and pieces up from the legacy of Don Cherry and also deeper folk music from Mali, Morocco and Scandinavia. Mixing it up with some live electronics and all. Very psyched about this group!

PAN M 360: Does FIRE! Orchestra, as a trio, tour a lot? Does it operate in creative cycles, with other projects in between?

Mats Gustafsson: Fire! as a trio is touring a lot now. We have a new agent: Swamp booking. They are great. We are more busy than ever. After having an almost 2 year long pause. Music is happening and we look forward to all coming up. So, at the moment we do 4 tours a year plus projects, residencies and festivals. So, yeah – we have never been this busy before. A good feel.

All three of us do other projects in between, but we really try to put prio on the work with the trio and the Fire! Orchestra. The new version of the Fire! Orchestra will be with 19 members of the group and we will have our premiere of the new piece “WORDS” in November of this year. Expect more riffs!!

PAN M 40: FIRE! has 18 recordings – that’s a lot! Do you have any favorites?

Mats Gustafsson: 18 recordings? With the trio and orchestra and special projects? Wow. That is a lot. Ha ha. But we have been active for a long time now. Starting in 2009 already. The idea is to release a studio album every 2^nd or 3^rd year, both with the trio and the orchestra. It is a good plan, we believe. The upcoming one is always my favorite. I cannot point any fav out. I have to say I am very happy and proud of all we did. To run an orchestra in these times…. And to tour with it IS impossible. And we wanna show that the impossible is still possible. We want to pay our members decently, so we turn a lot of offers down. But, somehow it works out… and we are still on our feet. It is truly amazing to work with a large ensemble and we are super happy about the new idea of CBA (Community based activities) where we work with local musicians. As in Victoriaville. It is a win-win. We extend our circles / network – getting new people into the Fire! Orchestra family. And the local scene is getting connected to our music. And in theory it should be cheaper for the local presenter to do this. So, we do both CBA projects 4 -5 times a year and the regular activity with Fire! Orchestra. We just finished the ECHOES version with a concert in Gdansk in Poland. And we look fwd to play parts of ECHOES (and some new stuff) in Canada.

PAN M 360: What have been the latest developments in the ensemble?

Mats Gustafsson: Well, the addition of some new names is what is affecting it the most. We are writing very specifically for the members of the group, in the same manner as Duke Ellington and Sun RA did. Using the individual voices of the group in a collective setting. So, we actually managed to include a few people from previous CBA projects into the band. That Is the way it works, and should work. The inclusion of Anna Neubert – violin and Emily Wittbrodt – cello gives us a very cool string trio with our own Anna Lindal on violin. And to have Maria Portugal on drums and vocals is just great. Spectacular! The young and fantastic Adia Vanheerentals on tenor and soprano sax. The spectacular Mariam Rezaei on turntables and electronics and of course so great to include Canadian Lina Allemano on trumpet. We will be 19 persons in this new line up. A mix of new names and some from our old pool of Fire! Orchestra related artists. There will be riffs. There will be Fire!

PAN M 360: How can you briefly describe the trio’s formal evolution? What is the basis for our work today?

Mats Gustafsson: Simply stripping things down. When we recorded our latest album “Testament” with Steve Albini in Chicago we decided to take things down a bit regarding instruments and all. So, now we are focusing on what we can do with only baritone sax, electric bass and drums.

No electronics, no keyboards, no extra instruments (well, a bit of flute can’t hurt….). It creates an open music of endless possibilities. What the future will give us, we have no idea. But in 2025 this is what we are working on.

In the beginning there were a massive amount of extra instruments and lots of noise electronics and all. I love that as well. But at the moment, this is what Fire! is all about.

PAN M 360 : Please tell us about the specific strengths of the members of your trio.

Mats Gustafsson: They are just the BEST! As persons. As musicians. Tight, open and full of energy! Andreas and Johan have a magic power of locking into each other’s groove. It is like telepathy. And it was the same vibe from day one. We are having FUN together. And we respect each other to 100 %. It is all about trust and respect.

PAN M 360 : Why did you propose this specific ensemble for your Quebec dates?

Mats Gustafsson: We really wanted to play with Fire! Orchestra in North America, but it was impossible to fly over with 19 people. And impossible to play in the USA at the moment. I would need to sell my record collection in order to bring 19 people over. And I am not ready to part with it yet. So we decided to go for a CBA version instead after discussions with Scott.

It was a very creative discussion with Scott about the line up. We had to stay at 5 original Fire! Orchestra members flying over because of budget. In our CBA projects we usually travel with 5- 7 people and the rest are local. It was a creative affair and quite easy. I know a lot of the names and have already played with a few of them. Of all the CBAs we have been doing this is perhaps the most exciting line -up. I kid you not! The Line up looks amazing. Total KILLER. Great scouting from Scott & Co. He is a musician himself, so he made it easy for us.

PAN M 360: In the extended line-up, can you explain how you went about doing this?

Fire! trio was on tour in Europe in 2011 and after the final gig of the tour we had a sit down. We made a 3am decision to gather all our musician friends in Stockholm and play TRIO music. Done deal. We met and played “Exit” at Fylkingen in Stockholm in 2012. 28 musicians playing their brains out, smiling. We had to continue. No question. We did many new pieces after that, all with different line ups. Including a rewrite of Penderecki’s “Actions for free jazz”, with the composers’ blessings. Fire! Orchestra is very much alive and continuously changing. That is a necessity.

PAN M 360: How do you distribute instructions to the musicians?

Mats Gustafsson: These days, there is a google Drive file – with sheet music, music files, links, videos and what not. We have a rough plan of what to play. Most is material from our latest version “Echoes” , but we might do a couple of new pieces as well. Plus some open formations. Ad hoc formations and solos. It all depends on how the rehearsals go. We can change things around a lot until the gig. Some musicians have emailed us asking about specific things and we try to answer it all. It will all be clear when we meet and rehearse together. That is key to having a few days of working together. Learning to know each other and get familiar with the ensemble sound of this version. We can’t wait.

PAN M 360: How do you balance composition and improv in a large band context ? Are there some written parts ?

Mats Gustafsson: Wait and see / hear!! Yes, there is a mix of written arrangements and composed materials and melodies. The basic riffs are the foundation for all our music. So, riff you will hear! Horn arrangements by Mats Äleklint who is joining us on this trip. Bad ass trombone. The loudest and greatest around. I am doing a lot of conductions as well, controlling and fucking up the forms and structures. The conductions can and will appear at any point of the piece. Indicating certain arrangements, solos and instant composings. It will be all different. The rehearsals will be one thing- and the concert might be something entirely different. Let’s see. We have 5 -6 pieces that we will do, all having arrangements and a basic form idea. There will be a lot of space for open bridges between those pieces. And also introductions and outros that will change from day to day. Johan and I are communicating during the piece and will be able to change things around in a split second, when it is needed.

PAN M 360: How do you see the act of conducting such a large ensemble ? What are the challenges ?Mats Gustafsson: See above. As long as people are attentive there are no real problems. Just JOY! I work with quite simple signs and conductions and usually they are not really hard to follow. No rocket science here. I love conducting – and it is such a privilege to do it with great musicians. And this lineup is spectacular! Pure JOY!

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Publicité panam

Quebec virtuosos Serhiy Salov and Jean-Philippe Sylvestre were chosen by Marc Boucher to team up in a program involving works for piano 4 hands for one piano (Fauré, Beethoven, Bizet) or 2 pianos (Saint-Saëns). Classica’s artistic director explains his choice to Alain Brunet for PAN M 360, in the context of a separate interview for each program. This program will be presented on June 5.

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PROGRAM

Gabriel Fauré

Suite Dolly, op. 56, for piano four hands

L.V Beethoven

Sonate en ré majeur, op. 6, for piano four hands
Georges Bizet

Jeux d’enfants, Op. 22, suite for piano four hands

Camille Saint-Saëns

Carnaval des animaux, op. 9, version for two pianos

Publicité panam

The artistic direction of the Classica festival has assembled an all-female quartet of Quebec cellists: Kateryna Bragina, Chloé Dominguez, Agnès Langlois and Noémie Raymond. Composers from different eras will be highlighted in this propitious context: Nadia Boulanger, Isabella Leonarda, Hildegarde von Bingen and even Charlotte Cardin! There will also be Debussy, Monteverdi, Bruch, Corrette and Carlos Gardel, the world’s first modern crooner. Marc Boucher came up with the idea for Violoncelles au féminin, a program scheduled for June 4. He defends his choice in this fragment of a long interview conducted by Alain Brunet.

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Program

Claude Debussy (1862–1918)

Rêverie

Nadia Boulanger (1887–1979)

Three pieces for cello and piano

Claude Debussy

La Fille aux cheveux de lin

Isabella Leonarda (1620–1704)

Sonate
Claudio Monteverdi (1567–1643)

Pur ti miro

Hildegarde von Bingen (1098–1179)

[pieces to be determined]

Max Bruch (1838–1920)

Kol Nidrei

Michel Corrette (1707–1795)

Le Phénix

Charlotte Cardin (1994– )

Confetti

Carlos Gardel (1890–1935)

Por una cabeza

The Köln concert, or Cologne concert, was performed by Keith Jarrett on January 24, 1975, 50 years ago. The public recording became the most listened-to solo piano improvisation in recording history (around one hour), and certainly the locomotive of the repertoire of the German label ECM, founded and still run by Manfred Eicher. This is certainly one of the emblematic jazz albums of the 70s, whose aura confers mythical status. To commemorate the half-century of this recording, Marc Boucher, artistic director and founder of the Classica festival, dreamed up a transcription of the improvisation for string quartet by François Vallières, performed by violist Elvira Misbakhova, cellist Stéphane Tétreault and violinists Antoine Bareil and Marie Bégin. Marc Boucher is invited to tell us more in this fragment of a long interview conducted by Alain Brunet for PAN M 360.

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Publicité panam

Amanda Harvey, also known as IRL, is one of Montrealʼs most engaged sound artists and musicians. Her studied approach comes from years of actively creating communities and nourishing her understanding of sound. If IRLʼs soundscapes represent this depth, it is because they inspire themselves from various listening practices with vast social meaning.

From being a core member of ffiles, a feminist radio collective, to co-producing A Kind of Harmony with Julia Dyck—which investigates multidisciplinary sound practices through a social and environmental lens—Amanda Harvey follows where the heart leads and isnʼt afraid to question her own beliefs. What is between the ears—but more importantly, what does the body feel? Her sound is crafted with deep care and a heightened sensitivity to space, as it speaks to be heard.

The approach to space as a medium in her works will inevitably lead to interesting results in S.A.T.ʼs dome, as she prepares for her Substrat performance on Thursday May 1st, sharing the stage with Bénédicte, Micheal Gary Deen & Freddy Speer. In this interview, Amanda Harvey talks about her learnings from A Kind of Harmony, the importance of community, the evolution of her spatialization practice, and her approach to embodied sound.

PAN M 360: I’m wondering if we turn the tables: what are some important lessons that you’ve learned producing A Kind of Harmony that have affected your own discipline?

IRL: One thing I definitely learned came from one of the participants of this current season—the person I just mentioned, AM the geographer. In their interview, they talk about how not all spaces—natural spaces—want to be recorded. And so, when you approach recording a natural or outdoor space, you should sit with that space and see if the intention is there for you to record. Sometimes the space is going to refuse you, or you’re going to feel as though you’re not actually, in that moment, welcome. This is something I had never encountered in all my years of researching sound, place, and space. I found it extremely eye-opening because it wasnʼt a practice I personally had. Moving forward, if Iʼm doing field recording of any sort and arrive in a space that feels like it doesnʼt want to be recorded or remembered in that moment or in that way, I wonʼt actually record. Thatʼs been a major takeaway Iʼve learned from this season.

PAN M 360: Wow, thatʼs very interesting—itʼs like a completely different approach to listening. Almost like listening to the space as being.

IRL: Exactly. Iʼm pretty sure they say something along those lines—like, you have to sit with and listen to the space, and the space will tell you whether or not you should take that recording. Because it is extractive in a sense.

Another participant we interviewed, Sandra Volney, who is actually based here, looks at how recording sounds of the earth can actually alert us to global warming and the earth heating up. I knew conceptually that this was possible, but speaking with an artist who puts that into practice and works with scientists to collect this data and create sound works from it was also super eye-opening for me.

PAN M 360: That makes a lot of sense to me, because you’re connecting people with their sensitivity—it makes the issue more personal. In this sense, Iʼm curious about your own practice of retrieving sounds. You’ve explained thereʼs a preliminary approach of listening to the space. Has this changed your way of listening over time?

IRL: I think especially over the last year, my way of listening has shifted—not only because of producing the podcast, but also due to things that have happened in my own life. Before, when I approached field recording or recording natural or outdoor environments, I would be a little hasty. Whereas now, I feel I really need to sit in a space and ground myself before I record.

I think a lot more intention goes into it now—like, feeling how the sound resonates in my body and whether or not thatʼs something I want, you know, an active memory of, something I can refer back to. So Iʼve become a lot more intentional, and maybe a bit pickier, about what I record, when, and what those recordings are used for. Because I donʼt think everything needs to be shared. Itʼs very sensitive—it feels a lot more intimate now than before.

PAN M 360: When you talk about the importance of knowing what itʼs going to be used for, I guess itʼs also a question of where itʼs going to be played and who itʼs going to be played to. How has that relationship between audience, sound, and space evolved for you? I know you organize and play events in Montreal and are very involved in the community. Is this, to you, a way of bringing the impact of what you’re learning into a wider sense?

IRL: Yeah, definitely. I was part of a long-running collective that still exists today— the ffiles, a radio collective. When I was working with them, we were very feminist-focused. That really rooted me in the wider community in Montreal and drew a parallel between my sound art practice and my relationship with the community here.

That platform allowed me to meet many people and gave artists a space to discuss their work. We had an n10.as show for many years where we booked people—mostly queer, fem-identified, and LGBTQIA folks—to come on and play. It helped me grow and build my relationships within the community.

I also want to say that without the community around me and the people Iʼve met in Montreal, I wouldnʼt have a music or radio practice. Iʼve had a lot of people offer me time, energy, and platforms to showcase what I can offer. Without that support, I honestly donʼt think Iʼd have a practice at all.

PAN M 360: I guess you could say you have a pretty solid base. You’re doing n10.as, A Kind of Harmony, you’re part of ffiles, and now youʼre doing Substrat at the S.A.T. How do you see this moment in your development as an artist?

IRL: Itʼs a huge moment in many ways. How do I want to put this… itʼs pushed me to elevate my workflow and creative practice in a way I was kind of avoiding. Iʼm completely self-taught—I didnʼt go to music school or take lessons. Most of what Iʼve learned has come from friends or learning on my own, intuitively. This show has shown me where I need to improve in order to excel—or at least to showcase work that sounds good on a basic level.

PAN M 360: What would you say is something you had to work on in preparation for Substrat?

IRL: Because I work primarily with hardware and modular synths, I had to focus more on using a DAW. I had to learn a lot about audio routing—which I knew nothing about before—and also understand general recording rules: levels, frequencies, EQ.

When I produce, itʼs mostly just vibes—and in a live context, that doesnʼt always translate. Iʼve played shows with gear that sounded terrible, and I walked away from those shows feeling defeated, not really knowing where I went wrong. But this project pushed me to see where I need to grow. Iʼm still learning a lot as a musician. Working in a space like the dome requires so much to produce a piece thatʼs engaging, sounds beautiful, and also functions technically. Itʼs been extremely challenging, but Iʼm very grateful to have been pushed.

PAN M 360: I’m sure learning all this spatialization wonʼt go to waste. You’ve done it before at the PHI Centre, and it seems like it’s becoming part of your practice. Do you think about space when you’re creating a piece?

IRL: Thatʼs a great question. When Pablo, the engineer we were working with at the S.A.T., heard some of my sounds, he said: “Okay, a lot of your sounds are recorded in this kind of spatial way—theyʼre already spatialized in how theyʼre composed.ˮ

In my practice, I always think about using sound to envelop the listener and put them in a trance, so they lose track of time—take them out of the space and into their body.

PAN M 360: Talking about space—what do you think about Substratʼs use of the dome exclusively for sound? And more broadly, how do you feel about visuals over music—or the lack thereof?

IRL: When they book you for the series, they tell you: there are no visuals in the dome. Personally, I prefer that. Visuals, especially when you’re confronted with screens, really change the experience. I’d love to perform in a space where people can just close their eyes, and I’m not even part of the performance—where all they hear is the sound. Thatʼs literally a dream come true for me.

Of course, visuals can enhance a performance. If I were working with a VJ, I know exactly who Iʼd choose and the kind of material theyʼd use—it could definitely enhance it. But visuals can overpower or detract from the experience of sound.

With sound, you can sit in it and create your own meaning—or sometimes the meaning already exists in your body. Visuals can pull you out of that embodied listening.

It would be amazing to have an ongoing series exploring this kind of space—it really does sound incredible in there.

PAN M 360: Are there any other projects you want to plug for the people whoʼve made it this far?

IRL :Go check out the second season of A Kind of Harmony. Otherwise, no other projects—just IRL. You can find me on SoundCloud or my website irluman.com.

PAN M 360: Or in real life

IRL: Yes—or in real life. Iʼm definitely around. Youʼll see me dancing probably somewhere this or next weekend. Iʼm going to start putting together an album— look out for that.

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After the release of Good Grief in 2022 and his five-song EP If I was I am in 2023, Bells Larsen is back with Blurring Time, a beautiful nine-song album where past and present coexist, sometimes tugging at each other, for a moment that will never exist anywhere else but on the album. An immortalization of a passage through art where the artist, then in a process of transition, wanted to say goodbye to his former identity, like a farewell gift, intertwining it with his present.

There is one voice frame for the high notes by the ‘Bells of before’ and one for the low notes by the ‘Bells of now,’ after the testosterone intake. The result is a melodious, intimate duet that brilliantly records in music, and in history, this period of change that he wanted to be marked by benevolence rather than sadness.

The singles “514-415,” “Blurring Time” and “Might,” accompanied by his video clips, immediately set the tone for his gentle, comforting folk, with a touch of magic in the arrangements, and always with well-dosed vocals. This unique approach led to the artist being refused access to the United States, where he was due to perform live, and this was recently publicized in the media.

Marilyn Bouchard spoke to Bells Larsen about his creative process, the collaborators on the album and the changes he has experienced and will experience in the future, since they are never finished.

PAN M 360: Where did you get the idea of combining your old voice with your new one on the album?

Bells Larsen: Writing this album, in the space of a year, I understood who I was. I wrote “Blurring Time” first and “Might” last … but in reality it could have been called I’m gonna’ because it was no longer a possibility but a certainty. I realised at that point that I had to make certain decisions to be more authentic to myself, like starting to use testosterone. It was really difficult for me to decide whether I wanted to capture the album with my old voice or wait until after the transition and record it only with the new one. But in a way it was a bit worrying for me because there was an element of uncertainty in not knowing how my instrument would be modified. So, just to be on the safe side, I thought I’d record with my old voice first … and then as I thought about it I said to myself ‘You know what, I don’t think I’ve ever seen anyone mix documentation on their transition like that’ and at the same time there was a trend on Tik Tok at the time with duets where everyone was doing duets with a modified version of themselves … so I thought it would be a nice … farewell and welcome present to give myself.

PAN M 360: Since you’ve got a new voice, does that mean you’re taking inspiration from different sounds, since your instrument has changed?

Bells Larsen: Yes, absolutely! Really! It’s a bit like learning French: you have access to lots of new options that you didn’t have before! It allows me to understand and experiment with my instrument in new ways. Just as the French language gives me new rhymes to play with, my new voice gives me access to tones I didn’t have before.

PAN M 360: You said in an interview that this album was born more out of necessity than choice? Why is that?

Bells Larsen: I think it was necessary to understand myself better. My relationship with my identity isn’t one where it’s black or white…this or that…one or the other. Even though I’m a guy, even though I’ve made decisions to transition, I take so many things with me from my old version. And I thought it was important that this other me should accompany me in my transition, not only with the music but also for the rest of my life. I could have just recorded my voice before or just after my transition, but I made the musical choice of both… out of the need for me as a person to be in tune with everything I am, was, and will be.

PAN M 360: There are several places in Montreal that feature in your lyrics: Outremont, the Clark/Duluth corner. Is your art influenced by the city where you live?

Bells Larsen: Yes, of course! Montreal is so beautiful! It’s a magnificent city! I split my time between Toronto and Montreal, and I have a friend who used to live in Montreal and moved back to Toronto who said something like: ‘You go to Toronto for your friends, your connections … it’s really a social city. Montreal is an experience…’, and I couldn’t have said it better myself. Montreal is an experience where all your senses are active. You can smell it, feel it, taste it, see it. I feel very inspired as an artist by Montreal, because it’s such an artistic city too.

PAN M 360: You said that the lens through which we look at the past in the case of a transition is often sad or tinged with regret, but that you wanted instead to make this passage a celebration, filled with kindness and gratitude. Can you explain your vision to us?

Bells Larsen: First of all, I really want to emphasize that this is my own perception and experience of the whole thing, but I completely understand that some people will need to grieve in their own way, which can sometimes be sadder, needing to put the old version of themselves aside so that the new one can really be born. Just to say that all feelings are valid. I grew up watching the Canadian show Degrassi and I also watched several coming-out videos, even before I did mine, and in many of the performances I saw… let’s say in Degrassi when there was a trans person talking, you saw the old version of that person and there was a lot of sad music playing in the background, in the coming-out videos on YouTube there wasn’t necessarily a sad tone but…a clear dichotomy (which I completely understand)…so in the end it was often more melancholy and I found myself less in it. It was less my reality because at the start I’d thought I might be non-binary… like I was a mix.

As I said in the song “Blurring Time,” I used to think I was ‘both and more’ and now I understand that it’s more of a binary side that I fall into but I have a lot of dualities, complexities, influences that cohabit within me and I couldn’t be the person I am now without all the versions of me from the past. So that’s kind of what I wanted to celebrate on the album, and I wanted it to be a gentle celebration of both of my selfs.

PAN M 360: The arrangements on the album are minimalist and uncluttered. Was this a choice to leave more room for the vocals?

Bells Larsen : Yes, exactly! I wanted the vocals to be at the forefront and on the other hand too… I write all my music in my bedroom, sitting on my bed, it’s quite intimate. And I just love the quality of the vocal memos when the song has just been written. I think I wanted that intimate quality too. That when someone listens to the music they can feel that they’re next to me now…and next to me before. That the two versions of me are on either side of the listener.

PAN M 360: You had already worked with Graham Ereaux on Good Grief, what was different about the creative process this time?

Bells Larsen : Honestly, I’d say there were times when it wasn’t easy. It’s really connected with my mental health and also my self-esteem and self-confidence. Before I was really ‘I’m flexible, I’m good to go with whatever’ but when you’re more sure of what you want, what your limits are and you’re more direct with it… It’s really good but when you had relationships that existed with a lot of ease, it creates a contrast let’s say. When I recorded the voice aloud, I hadn’t yet started the testosterone and I was still unsure… still a bit shy. Then I cultivated so much self-esteem and understanding of who I am in the interim, also thanks to a fantastic shrink…. I knew a lot more about who I was. So maybe that was shocking for some people. And Graham really is the sweetest person, it’s not about him but about the world in general and my relationship to it that has changed. I’ve lost a few links in the process, through alignment, but Graham’s not in that!

PAN M 360: You also worked with Georgia Harmer on this album, who is a childhood friend of yours, what was that like?

Bells Larsen : It was the most natural thing in the world. I’m at my parents’ flat right now and I see the guitar she gave me for my 18th birthday. I played all my first shows with Georgia on that guitar. I’ve got more or less a decade’s experience of working with her, and the reason I went looking for her for this project was because she had a really intimate relationship with my old voice. So she’s definitely going to help me with the new one. She’s also such a talented musician, with a really interesting way of thinking about harmonies. She understands things. She knows where to give and where to take away, how to create impact… and I’m really glad I went looking for her for that.

PAN M 360: Queer time is a subject that fascinates you and inspired you to write this album. Would you like to tell us a bit about it?

Bells Larsen : I think the queer and trans world experience time differently from cisgender or straight people, mainly because we find out a bit later in life. In any case, that’s been true for me since I’ve come out several times – I’ve already identified myself with each of the letters in the LGBTQ acronym. I’m 27 but at the same time I feel like I’m 3 years old. I’m just learning about my desires, my wishes, my limits… because it’s only now that I can cultivate and discover that. I have other friends my age who are having babies. A queer timeline isn’t chronological…but it’s not unchronological either. My timeline is so blurry, so all over the place. I’m me now. But I’ve always been me. And I’m still the me I was. All that coexists.

PAN M 360: You recently announced that you’d had to cancel a series of concerts in the United States, because of the worrying climate there these days and also because of complications related to the fact that you’re trans. Can we find out more?

Bells Larsen : Yeah, it’s been a week and a half since I announced that and it’s only been a few days since my album came out, so I think it’s only natural that the album and the fact that I’m a politicized artist should be mixed together. I welcome that and I understand it. And I hope my album can be a comfort to my community, especially those living in the US, to people who feel isolated and oppressed by the new regulations. I hope that music can humanize the community… because people hate what they don’t understand and are afraid of the unknown. I hope my music can show that I’m just a person wanting to get closer to myself and that it’s not something unique to trans people. I think it’s really beautiful that within the trans community there’s a propensity to explore oneself. I’m going to manage the situation and concentrate on Quebec, Canada and Europe. And I think I’m less in shock now, I understand the current situation.

PAN M 360: What’s in store for the rest of 2025?

Bells Larsen: There are a lot of shows coming up (not in the US but elsewhere haha)! Yes, there’s Toronto, Hamilton, and Montreal too, which is sold out and I’m very excited. Then there are the festivals and even more Quebec dates to come until the autumn. I’ll be touring Canada with one of my heroes, and we’ll be playing some big venues!

The 2025-26 season of the Salle Bourgie has just been launched, and it promises to be a particularly exciting one. It will be the 15th season for this now venerable institution, created thanks to an exemplary collaboration between the Montreal Museum of Fine Arts and philanthropist Pierre Bourgie. After the remarkable reign of Isolde Lagacé, it is now four years since Oliver Godin, Artistic Director, and Caroline Louis, General Manager, took over the helm and set the course for an annual programme that is as colourful and high quality as ever.

I had a quick chat with the two indefatigable music lovers about the upcoming season, and their favourites (always an impossibly difficult exercise).

Asked what they have learnt from their years of programming at Salle Bourgie, Olivier quickly replies that the Montreal public is extraordinary. ‘’It’s an audience that follows us in our choices and the directions where we want to take the venue‘’. He also mentions the versatility of the hall, which allows for a number of configurations, as well as privileged and intimate encounters with some very big international and local names.

The good news is that young people are also present: ‘People always say that classical music is for greyheads, but we have an increasing number of under-34s, and that’s great to see. Of course, we love our greyheads with all our heart, they’re the core of our audience, but it’s inspiring to see that our strategies for acquiring another audience are bearing fruit‘’, says Olivier Godin. Caroline Louis points out that over the past three years, this segment has doubled, and now accounts for an average of over 15% of the audience. A more than respectable figure, given that the repertoire is often more niche classical music than the symphony fare.

For the season as a whole, there’s no need to draw up a long grocery list here, especially as the details are available on the venue’s website, but suffice it to mention the continuation of the complete Schubert lieder series with (brace yourself!) Wolfgang Holzmair in what will be one of his last recitals before retirement, Anne-Sofie von Otter, rising star Andrè Schuen, Samuel Hasselhorn, the exceptional Victoire Bunel, and many others. There will be a strong piano focus, with visits from Leif Ove Andsnes, a residency by Kristian Bezuidenhout, the explosive Beatrice Rana, a complete Prokofiev with David Jalbert, Quebec’s Élizabeth Pion, the eagerly awaited return of Vikingur Olafsson in Bach, Beethoven and Schubert, Alexandre Tharaud, an all-too rare appearance by Dang Thai Son, the spectacular Fazil Say, and so much more, including an event that promises to be memorable: the meeting of Marc-André Hamelin and Charles Richard-Hamelin!

Violinists galore (Christian Tetzlaff, Jinjoo Cho, Andrew Wan, Tabea Zimmermann (viola)), cello, flute, guitar and more. In contemporary music, there will be some fine acts, including the excellent New York vocal ensemble Roomful of Teeth, with repertoire by Missy Mazzoli and Caroline Shaw, among others. There’s also the Duo Étrange (as it’s called), made up of soprano Vanessa Croome and cellist Sahara von Hattenberger, with a new work by Nicole Lizée. Les Violons du Roy, Les Idées heureuses, Arion Orchestre Baroque and other regulars are still there. Collectif9, the highly innovative string ensemble from Montreal, will be taking us on a journey through the various iterations of the Passacaglia, from Frescobaldi to Ligeti.

‘’It’s very important for us to give a platform to local artists. They make up half our programme‘’ – Olivier Godin

Jazz (Jazzlab Orchestra, the inescapable Taurey Butler and his Charlie Brown Christmas, François Bourassa in duet with Marie-Josée Simard, the Cordâme ensemble and its beautiful show Fabula Femina, the Kate Wyatt Quartet, one of the best pianists in Canada today, and a Montrealer, a tribute to Pat Metheny, etc.) and world music (Zal Sissokho and his poetic West African kora that will meet jazz, Yiddish music by the Likht Ensemble and composers killed or who survived the Holocaust, a unique encounter between the venerable 92-year-old Alanis Obomsawin and two-time Polaris winner Jeremy Dutcher, in an intimate piano-voice version) are always on the bill, of course, not forgetting the unmissable visits by musicians from the OSM and the OM. Also, uncommon but very interesting : two concerts that will combine music with modern dance.

‘’We’re happy to programme established names, but we also like to provoke encounters, try things out and, perhaps, act as a precursor, by merging worlds‘’ – Olivier Godin

There’s a lot more, so take a look at the brochure, which is now available.

Before ending the interview, I couldn’t resist asking the two enthusiasts a few tough questions.

Your most emotional moment in perspective? Olivier Godin: ‘’I’d have to say André Shuen’s recital. This will be his first time in Montreal and he’s a young baritone with an extraordinary interiority. He’ll be mixing lieder by Schubert and Mahler, set to movingly beautiful texts by a number of poets, which we’ll be able to follow above the performer. It’ll be a very moving journey, for sure‘’.

Caroline Louis: ‘’It’s so difficult, but I can’t fail to mention Wolfgang Holzmair’s final concert, performing Schubert’s Winterreise.

Oh well, another one : your most surprising moment? Olivier: ‘’Perhaps the concert of improvisations on keyboards (piano, harpsichord, organ) by Ilya Poletaev, who will play spontaneously on images from the last century chosen by the director of the FIFA (Festival international du film sur l’art de Montréal).’’ Cinema, surveillance cameras, NASA images and AI creations, a whole ensemble that paints a broad and fragmented portrait of a century of images.

Caroline : ‘’The concert by Fazil Say, who will be playing the Goldberg Variations alongside his own compositions.’’

Let’s meet often at the Sherbrooke street west hall.

Consult the online program of season 25-26

List of concerts on Bourgie Hall’s website

Tango Boréal, creators of Lettres de Chopin, present a new work at the Festival Classica, a chamber opera based on the melodies of Maurice Ravel and Claude Debussy, with a libretto by Denis Plante. The dramatic plot of La fille aux cheveux de lin takes us to Paris, ﬁn the 19th century, in the midst of cultural ferment. We find ourselves on the Butte Montmartre, in a studio where Rose is helping her painter brother restore a painting, until the sudden arrival of a mysterious girl with flaxen hair. Marc Boucher briefly explains the concept to Alain Brunet for PAN M 360.

BILLETS ET INFOS

Transplanted to New York, where her career is progressing alongside her graduate studies at Columbia University, composer and curator Corie Rose Soumah returned home to Montreal to perform for the second time since the beginning of 2025, when she was invited to perform in the context of Montréal/Nouvelles Musiques, where the vocal ensemble Ekmeles performed her music – watch the interview with Frédéric Cardin. She’s back for this invitation from Le Vivier, where her work will be featured alongside that of her Hypercube colleagues. Since PAN M 360 holds this artist in the highest esteem, Alain Brunet proposes this other interview, this time in advance of the program presented in the Salle Bleue of the Wilder Building, this Wednesday, April 30: Aptitudes Matérielles.

“Corie Rose Soumah invites Hypercube sound artists Erin Rogers, Antoine Goudreau and Antonin Bourgault for a concert where new technologies, visual arts and sound spatialization meet.”

PAN M 360: How did you come to work with Hypercube?

Corie Rose Soumah: I was lucky enough to collaborate with Hypercube for the first time in 2022 during the 2021-2022 season of Columbia Composers, a student organization developing a professional concert series taking place in New York. It was then that I discovered the rich potential and incredible quality of improvisation and interpretation that each member of the ensemble (Erin Rogers, Andrea Lodges, Jay Sorce and Chris Graham) brings to the table in their own very personal way. The collaboration culminated in my piece “SPINNING, TOUCHED, UNDREAMT; SNOW-”, which explores several sonic palettes between acoustic sounds and analog synthesizers. Since then, the ensemble has taken the piece to several concert halls in the U.S., and an album recording of it is currently in the works. For the “Aptitudes matérielles” concert, I wanted to bring this New York sonic sensibility to the Montreal scene, while blending in Montreal’s unique artistic richness.

PAN M 360: What is your professional affinity with your three colleagues, Erin Rogers, Antoine Goudreau and Antonin Bourgault?

Corie Rose Soumah: As a saxophonist, Erin Rogers is a member of Hypercube and an accomplished composer and improviser. In addition to working with her on SPINNING, I’ve had the privilege over the past few years of hearing her perform in concert on several occasions, across multiple varied aesthetics. The concert will feature a new piece written by Erin for ensemble and electronics.

I discovered Antoine Goudreau’s work more recently, at the end of 2023. I was struck by his creative use of technology in his artistic process, as well as the sonic particularity that emerges from it, a very unique touch of his own. For me, his work is a fine example of the richness of Montreal’s new generation of creators. I’m delighted to have had the opportunity to commission a new mixed-media piece from him for Hypercube.

As for Antonin Bourgault, we both studied at the Conservatoire de musique de Montréal in 2015. Antonin was one of the first students to play my music, and since then we’ve had the opportunity to collaborate on new pieces, including a premiere that will take place at this concert. He is also a gifted composer and improviser, playing in Montreal’s experimental venues. I owe a great deal of my ease and mastery of saxophone writing to him, thanks to all his advice and attention to detail.

“This convergence of two metropolises with tremendous creative dynamism, New York and Montreal, offers an ideal pretext for the encounter between new technologies, visual arts, theatricality and sound spatialization.”

PAN M 360: We know you’re currently studying at Columbia, and the program notes speak of a New York/Montreal convergence, but tell us more? Are we talking about New York, where you’re currently studying, and Hypercube, Montreal?

Corie Rose Soumah: My interest in this project was to create relationships between artists in New York and Montreal, two cities very close to my heart. The project began with an extensive multi-day workshop with Hypercube in New York, inviting Antoine and Antonin to participate in person. The concert in Montreal is the culmination of this initial sound research, and this Wednesday will feature three new pieces as well as two works composed in 2020 and 2022.

The Montreal scene is, in my opinion, one of the richest in North America, as is that of New York. There’s a wide range of styles and a very strong experimental music ecosystem. Some New York artistic directors are already amplifying the similarities between the two metropolises by inviting established Montreal ensembles to major new music festivals such as TIME:SPANS. With Aptitudes matérielles, I wanted to bring New York to Montreal and make this music accessible to a different audience.

PAN M 360: Since we’re on the subject of Columbia, how have you been coping with the current presidency’s threats against your university? Do you prefer not to talk about it in case you become a victim of repression? Do you feel comfortable with this question?

Corie Rose Soumah: I won’t comment on that.

“Featuring analog instruments and a myriad of graphic and acousmatic landscapes, the concert program summons plural universes representative of contemporary sonic diversity.”

PAN M 360: Could you describe the main theme of this program in terms of aesthetics and choice of expressive tools, if we go by the official description in the program notes?

Corie Rose Soumah: The idea of material aptitudes is to demonstrate the ability of the artists involved to manipulate materials rich in texture and gesture. The concert program is based entirely on mixed or electroacoustic music. One of the advantages of the blue room at Agora de la danse is the possibility of creating a different scenic layout from the classical concert. This will be the case this Wednesday, where eight loudspeakers will be placed around the audience and the ensemble will be located in the middle of the room, offering a totally immersive experience.

Each piece employs new technologies and spatialization movements of its own, such as the transformation of sounds by real-time processing or analog instruments built especially for the occasion. Most of the pieces also use elements of notation outside classical notation, either graphic or hybrid scores, inviting the performers to develop material under guided improvisation. This is the case with Antoine’s work, which uses a scrolling score in addition to electronic elements.

It was also important for me to dismantle this strict division between composer and performer. There’s this annoying tendency to believe that once you specialize in the artistic practice of composition, you don’t have the ability to be an excellent performer – which is completely false, of course! All the members of this project work through these two practices. That’s why I’ve chosen to present Antoine and Erin’s compositional work alongside their performance practice.

PAN M 360: Could you please give us a brief overview of each of the works on the program?

Corie Rose Soumah:

Antonin Bourgault: Mydriase <–> Myosis , 2020 (7’28”) : an acousmatic piece broadcast over eight loudspeakers surrounding the audience. The piece focuses on the evolution of different fictional places through multiple depth effects.

Antoine Goudreau: Fidelity in the Age of Plausibility, 2025 (8′ – creation, composed for Hypercube): a composition co-orchestrated with Hypercube, exploring states of copying, simulacrum, derivation and serialization in exchange for approximations and accuracies.

Corie Rose Soumah: Limpidités VI, 2025 (8′ – creation, composed for Antonin Bourgault and Erin Rogers) : this new work focuses on the improvisational expertise of the two saxophonists. Based on a miniature written for Antonin in 2022, this new piece presents the cohabitation of two saxophones in constantly expanding sonorities. The piece also uses shell instruments, i.e. Plexiglas plates with transducers that make them vibrate, cohabiting with the complex sounds of the saxophones.

Erin Rogers: Mirror to Fire, 2025 (10′ – piece, composed for Hypercube): inspired by the second song on Nine Inch Nails’ album “Add Violence”, the piece looks at how this song reflects the deep political division and growing isolation we are currently experiencing in our society.

Corie Rose Soumah : SPINNING, TOUCHED, UNDREAMT; SNOW- , 2022 (16′ – composed for Hypercube): born of a collaboration between Hypercube and myself, “SPINNING…” looks at the complexity found in the female condition, through dreams and falsified expectations. The piece mixes acoustic and analog synthesizer sounds that have been manipulated and transformed using different technical approaches.

PAN M 360: Could you tell us about the ensemble dedicated to the performance of these works, and how the performers are called upon for each performance?

Corie Rose Soumah:

CORIE ROSE SOUMAH : artistic curator, composer and creator of analog instruments, two pieces will be presented as part of the concert.
ERIN ROGERS : Hypercube saxophonist, composer and improviser, she will perform Antoine Goudreau’s piece, her new composition and two of my pieces.
ANTOINE GOUDREAU : composer and performer of experimental music, he will present a new mixed piece for Hypercube, while working on the spatialization of electronic elements at the mixing console.
ANTONIN BOURGAULT : saxophonist, composer and improviser, he will perform my new composition and broadcast his acousmatic piece.
CHRIS GRAHAM : percussionist with Hypercube, he will perform three of the pieces during the concert.
ANDREA LODGE : Hypercube pianist, she will perform three of the pieces during the concert.
JAY SORCE : guitarist with Hypercube, will perform three of the pieces during the concert.

PAN M 360: What are your upcoming projects?

Corie Rose Soumah: For my part, premieres at the Darmstadt Summer Course, TIME:SPANS festival and the Gaudeamus festival, in collaboration with the International Contemporary Ensemble and the Bozzini quartet, are on my list of upcoming events. My collaborator Antoine will be flying to Bali as part of a residency to begin research on microtonality with Balinese luthiers. Antonin can be found regularly at casa del popo or Sala Rossa. Finally, Hypercube is one of the guest artists at the Queens New Music Festival on May 18, 2025.

TICKETS AND INFO HERE

Antoine Corriveau is 40 and still flying through the night. Almost 5 years separate the release of Oiseau de Nuit and Pissenlit, also on Secret City Records, which marked a substantial change in his orchestral style. The release of Pissenlit was preceded and followed by a series of landmark concerts, and then…

After a series of existential, even depressive, transhumances, the artist finally extricated himself from the shadows and restarted the engine of his creation, thus inviting some fifteen musicians from different horizons, most of them from the left-field of Montreal culture – Stéphane Bergeron (drums and co-producer), Marc-André Landry (bass), Simon Angell (guitar, saxophone), Sheenah Ko and François Lafontaine (keyboards and synthesizers), Cherry Lena, VioleTT Pi, Rose Perron (vocals), Taurey Butler (piano), Éveline Grégoire-Rousseau (harp), Pietro Amato (horn), Émilie Fortin (trumpet), Kalun Leung (trombone), Laurie Torres (piano), Mat Vezio (drums), Ariel Comtois (saxophone).

To mark the release of his fifth studio album, Antoine Corriveau grants this interview to PAN M 360, conducted by Alain Brunet.

PAN M 360: This album is really part of a change already seen in 2019, shortly before the release of the album Pissenlit (2020). Back then, you started working with Simon Angell (Thus Owls), Stéphane Bergeron (Karkwa), Pietro Amato (Bell Orchestre). This time, they’re still with us, but some fifteen musicians have collaborated on Oiseau de nuit. Over the past five or six years, your musical culture has really changed.

Antoine Corriveau: You’re right. During the pandemic, my friend Marc-André Landry created a little listening group when we couldn’t leave the house, confinement was at its most intense. One of us would select two albums that we’d listen to together via What’sApp, then we’d comment on what we were listening to. It made me discover a lot of things.

PAN M 360: I see from your biographical profile that your discoveries were quite extensive, for example Makaya McCraven and Georgia Ann Muldrow.

Antoine Corriveau: I discovered them there, in fact.

PAN M 360: I’m one of those people who believes that the musical framework, the arrangements and the production make the difference between a generic song and a musically visionary one. There are plenty of people out there who can come up with good melodies and chord progressions, but that’s a limited universe, whereas the rest of a song depends on infinite creativity. And you, Antoine, have clearly understood this, i.e. your music has evolved since the beginning.

Antoine Corriveau: I still think this approach is dangerous, because it’s easy to turn your back on the idea that a song should be in its simplest form. I have my own studio, so it’s easy for me to fall into arrangement and production. It can be easy sometimes, I find, to go on a production trip when there’s no song behind it, there’s no text that holds together, there’s no music that holds together, there’s no (chord) progression that can.

PAN M 360: Yes, you have to find the right balance, avoid dogmatism and make sure the song holds together. A song that doesn’t hold together can’t count on a nice coating.

Antoine Corriveau: Well, I’d say the arrangement can’t be done if the song falls apart along the way. It’s very exciting, but…

PAN M 360: What was the creative core of the album?

Antoine Corriveau: It’s very much me and Stéphane Bergeron, who co-directed. We’ve been playing together for ten years. In the last few years, he started playing around a lot with recording, adding pedals, using compressors, producing beats. He’d say, “Send me some stuff,” and then he’d put his money where his mouth was. I got him involved because he was working a lot on my songs. Over the last few years, he’s evolved enormously and continues to look for new business. We’ve done some stuff together, and we’ve done some cool stuff with this new album.

PAN M 360: Working method for Oiseau de nuit?

Antoine Corriveau: A grant from the Conseil des arts et des lettres enabled me to invite a lot of people into the studio I was recording in order to create material for myself at the start of the process.

Initially, I wanted to make a record of samples; I’d got hold of a collection of vinyl records. I started playing around with it, but I felt a bit limited, not being a real beatmaker. I thought it might be cool to make my own custom samples; a recorded one-tone chord would allow me to continue with instrumentalists and singers.

Then we had to reuse these recordings in the songs. After that, we recorded with Stéphane, Simon and Marc-André Landry, with whom we also recorded a week of jams. Several songs came out of these sessions, where I’d come up with a riff around which we built.

PAN M 360: A number of English speakers worked on the project, so it’s not strictly the indie-keb family. There’s also a cross-cultural, multi-genre mix, including instrumental hip-hop and jazz, which are very important in the final result.

Antoine Corriveau: Yeah, it kind of reflects my listening habits over the last few years.

PAN M 360: Let’s review a few songs from Oiseau de nuit. We start with “Suzo”, which builds on a piano motif. It’s a declamation akin to rap or slam, it’s barely sung.

Antoine Corriveau: Yes, the first part of the song is very similar to rap productions. I liked the economy of means, choosing no more than three or four elements. It was a challenge, you know; sometimes, I have extremely dense songs with big arrangements, but sometimes it’s also a question of taking on fairly minimalist parts; instead of adding, you have to cut. That’s something I’m a bit proud of on this record in terms of arrangement, as you can see in this song.

PAN M 360: Let’s talk about Suzo’s text. We meet in Palermo, and “Suzo” is the character whose story you tell.

Antoine Corriveau: This character came into my head one morning, I don’t know exactly why. Things weren’t going so well in my life, I was in a kind of existential crisis. I imagined myself fleeing to another country, with the idea of erasing my life and starting all over again.

PAN M 360: “Jardin” is very influenced by jazz.

Antoine Corriveau: Yes, that’s right. It’s a song where I got these words from a book, sometimes I do that to help me write. This time, it took me back to my childhood memories, because we had a big garden at home. In fact, there’s something chronological about the order of the songs. “Suzo” was a kind of setup for what’s to come, and then I start with the song that’s perhaps a bit more about my childhood, childhood memories. Musically, I really wanted something softer than “Suzo”, and in the end, the drum and double bass groove is close to jazz, especially Makaya McCrevin. You can hear it. Then there’s a very long guitar solo by Simon in this song. It’s funny because Simon and I are guitarists, and we sometimes find the guitar “boring”. Then, when he recorded this solo, we removed an effect pedal with each new take. In the end, it’s the completely clean sound we wanted, super natural.

PAN M 360: Yes, there are some “roots” moments like that, even if the album is highly produced overall. And there’s a lot of improvisation!

Antoine Corriveau: As I record a lot of improvisation, it’s present, even if there’s a lot of processing and collage of sounds. Something deeply instinctive and human.

PAN M 360: Moscow Mule is about repression, AND it’s not going well for the narrator!

Antoine Corriveau: No, it’s not going well (laughs).

Well, this is a jam. The whole first part of the song is the original jam recording. I just started playing a guitar riff, the band got on board, and then we held it for a while. I really, really liked that energy.

Yes, I wrote this sort of story not really knowing what I was writing. But I was having a lot of fun! I was writing this narrative, I had ideas, they came out, I wasn’t worrying about what I was talking about. A friend to whom I had read the first version said to me, “It seems that in this text you’re telling how much you can lie to yourself in your life, but not in art.” I found that an extraordinary comment, and it enabled me to finish writing the text. It’s a song with a lot of ideas that echo things I’ve experienced for real, including a character from the American West Coast. After that, I talk about crossing over to the East, and I actually lived in the American East for a while. I was looking for something, I wasn’t doing well and I was driving to get better. So there are lots of real elements and others that serve the story, that put meat around the bone.

PAN M 360: And the title?

Antoine Corriveau: I had the word mule in mind and came across an article about a San Francisco bar that had removed the word “Moscow” from its drinks list, in support of Ukraine. So I imagined arriving at a bar and ordering a Moscow Mule as a password to access the basement where something was going on. Underground, a little hidden, which corresponded to this idea: what we reveal about ourselves and what we hide.

PAN M 360: Pastorale starts with a blues riff and then becomes orchestral.

Antoine Corriveau: Yes, a big jam that lasted 30 minutes and that I tightened, tightened, tightened until it was 9. It’s super bubbly and it’s the same riff all the time. It’s simple and lasts 9 minutes, during which a lot happens. There’s something unique and beautiful about this slightly cacophonous, ambitious affair.

PAN M 360: When you think of Pastorale, you think of Beethoven’s Symphony No. 6, the Pastorale, which has nothing to do with this song.

Antoine Corriveau: “Pastorale” is a word I thought of maybe two years ago, because I thought it was beautiful, and I even considered it as an album title. Then I did some research and the first association was religion and choral singing, something to do with my youth. And then there’s this notion of the countryside or nature before human intervention. What would it be like if it weren’t altered by human society? What would we be without social alteration? Wild animals?

PAN M 360: And so on. We won’t do the full review, but we already have an excellent idea of the project.

Antoine Corriveau: This album is a mixture of imagined lives and real memories. Sometimes, I even feel that my memories belong to others, and I cross that line between fantasy and reality and everything blends together.

Part of the SAT × EAF night this Friday April 25th, Toronto-based artist SlowPitchSound brings a unique take on turntablism, blending deep ecology with sci-fi imagination. Known for coining the term sci-fi turntablism, their work fuses classic DJ techniques with live sampling, field recordings, and improvised storytelling to create expansive, cinematic soundscapes. With sets that feel like journeys through parallel dimensions, SlowPitchSound cracks immersive performances where sound and visuals shiK slowly, guided by intuition, nature, and a deep curiosity for the unknown.

PAN M 360: You’ve coined the term “sci-fi turntablism” to describe your work. Can you unpack what that means for you — both sonically and conceptually?

SlowPitchSound: The root is turntablism, but it goes much further from there. Interactions with other sound objects are informed by the techniques that have been practiced on a turntable. I imagine other worlds and realises when I create, this makes it easier for me to stay away from the usual restraints that arise when thinking in musical genres. Hopefully that makes sense.

PAN M 360 : Your performances often incorporate field recordings and real-time sampling. What draws you to those textures, and how do you decide what sounds to bring into a set?

SlowPitchSound: I love that field recordings usually contain many other sounds that aren’t necessarily what you’re actually attempting to record in the first place. There’s an unpredictability that happens in the field that inspires me.. hearing it a slightly different way with each listen. I try not to put too much thought into the sounds I use because I like to be surprised with what can happen to them as well.

PAN M 360: There’s a strong sense of movement and progression in your work. Do you think of your sets as journeys? How do you approach building emotional or spatial arcs through sound?

SlowPitchSound: Absolutely! I love a good journey. My early bar dj days really installed the idea of adding arcs in my sets. Back then I wanted to be creative with my mixing, it kept me on my toes and it was fun to do. The big differences now are that I create my own music live and my equipment is way more integrated with my emotions, so it’s much easier to express myself.

PAN M 360: How has your relationship with turntables evolved over the years? What are you discovering about the instrument now that you weren’t before?

SlowPitchSound: I’m definitely not intimidated by it anymore. We’ve become great partners 🙂 Honestly it’s been a wonderful relationship getting to know it deeper with time. Feels like less of an instrument nowadays and more intuitive or instinctive.

PAN M 360: Nature and speculative fiction are recurring themes in your sound. Are there specific books, films, or life experiences that have shaped this part of your artistic vision?

SlowPitchSound: I’ve always been an outside of the box thinker for as far as I can remember. I’ve also been amazed by the magic of nature and the unknown things out there in the deep universe. I’m sure this is why I so drawn towards anything sci-fi or fantasy. A show that particular stands out from when I was a kid, was called “The Twilight Zone”. It was a black and white TV show, and every episode was so imaginative with some of the most bazaar realities. Really opened up my brain.

PAN M 360: Your visuals are often minimal, abstract, or atmospheric. How do you approach the visual dimension of your performances, and how do you see it interacting with your sound?

SlowPitchSound: Visuals are just the icing on my cake, a very low sugar version. There are so many little details in my sound, plenty to already feed the imagination, so I just like adding subtle slow moving images for atmosphere. Something to help put us in another reality but doesn’t overwhelm.

PAN M 360: Improvisation seems central to your live process. What does improvisation mean to you — and how do you prepare for something that’s meant to remain unpredictable?

SlowPitchSound: A couple things stand out. To me it means really learning how to listen and practice. How I prepare to react to the incoming sounds/thoughts, whether they’re from myself or others is by consistently practicing on many levels. I would compare it to learning a language, the more words you know the better the conversations and those conversations in general are usually unpredictable.

PAN M 360: You’ve spoken about being passionate about the environment and creating meaningful, inspiring work. How does that ecological consciousness shape your sound practice, and what role do you think artists can play in deepening our connection to the natural world?

SlowPitchSound: To me it seems like we as a species are very disconnected with nature nowadays, so as artists whatever we can do to bring more awareness is something worth doing. Art is still a power tool and collectively we can absolutely make a difference. I like to say “be part of the voice of nature”. It’s one of the reasons why I include a lot of nature sounds in my work so that nature could have an opportunity to reach others.

PAN M 360: What are some tools — analog or digital — that you rely on in your setup? Have you built or customized anything that feels essenGal to your performances?

SlowPitchSound: I use a turntable, mixer, sampler and a Korg kaoss pad for looping and fx. My latest customization was pressing a vinyl that includes a bunch of my own sounds and samples to play with live.

PAN M 360: What’s one piece of advice you’d give to emerging artists exploring experimental or cross-disciplinary paths in sound?

SlowPitchSound: Try and let go of what you know about music and focus on practicing the things that feel good on your musical instruments of choice. The more you explore them the more confident you’ll get.

PAN M 360: Montreal has a rich history of experimental sound and performance. How do you experience the city — either as a collaborator, an audience member, or just in spirit? SlowPitchSound: I love spending time in Montreal, especially in the warmer seasons 🙂 There’s such a great energy, and I absolutely enjoy strolling through the alleyways. Over the years I’ve made some great friends in the experimental scene. I’ve attended some amazing shows and have also played some as well including Mutek a couple 6mes, presented at Centre PHI and recently played a cool new experimental fest called Flux. I’ll be back to play Suoni Per Il Popolo’s 25th anniversary festival this June 27th.

TICKETS & INFOS HERE