The singer-songwriter Shaina Hayes made her debut back in 2022 with her album, To Coax A Waltz, a gorgeous country folk affair. Since touring that album around Quebec and other parts of the world, Shaina has signed to Bonsound and just released her follow-up album, Kindergarten Heart.
Once again written by Shaina and her creative team; David Marchand and Francis Ledoux of the noise rock band zouz—which Shaina also plays with live—Kindergarten Heart is, for the most part, a more upbeat album sometimes going for a more indie rock vibe. However, it does make a habit of following Shaina’s penchant for poetic lyrics and songs that usually start with just her and an acoustic guitar. It’s a fantastic follow-up, definitely putting Shaina on the path to becoming more of a household name in the indie folk world.
We spoke with Shaina ahead of the album release show at Le Ministère on April 4 about her time at SXSW, some of the behind-the-scenes of the album, playfulness, and her love of farming/agriculture arts.
Ahead of their program as part of Mélodînes presented by Pro Musica, I sat with violinist Julia Mirzoev, pianist Antoine Rivard-Landry, and cellist Braden McConnell to discuss adapting Beethoven and the exciting concert they have in store for us.
PAN M 360 : Hey everyone, thanks for taking time. I’m lucky to be speaking to all three of you. This piano trio program is rather unique and I was wondering how long you had to prepare this show?
Julia Mirzoev : Well we had a good amount of notice with this one, right?
Antoine Rivard-Landry : Yes, I think that the concept was clear from Pro Musica. It was really a question of figuring out what to pick as far as the repertoire is concerned. I feel like for a piano trio configuration the Beethoven symphonies were the most interesting choice, for sure.
PAN M 360 : I see, and exactly were the thematic guidelines that you had to follow?
Antoine Rivard-Landry : Well the theme is a piano symphonic. So basically symphonic works that have transcribed for piano or in this case, piano trio.
PAN M 360 : Oh I see. So arrangements of orchestral compositions that were not meant to be necessarily performed on the piano.
Julia Mirzoev : Yes, exactly! And so we end up actually having to fill in the roles of a lot of different instruments. So Antoine, of course, has many notes going on at once and Braden and I have to play double stops sometimes or some extra rhythms or extra lines that we wouldn’t have otherwise gotten to in the orchestral parts.
PAN M 360 : So were you all more or less familiar with the works before hearing them in a new arrangement?
Antoine Rivard-Landry : I think we were all more or less familiar with them. I knew all the movements of the symphonies but I had never heard them performed for piano trio. There’s the first movement of the famous Pastoral, for example, the slow movement of the seventh symphony, the minuet of the eighth, and the last movement of the second one. It’s almost like a mashup of some of his more well known symphonic works.
PAN M 360 : I imagine for the piano, these arrangements must be quite demanding,
Antoine Rivard-Landry : Well it’s surprisingly not that bad. The worst one is the last movement of the second symphony because it was written by Beethoven. And Beethoven with pianists is always a bit, you know, there’s no pity there. So it’s very big, but it’s also very fun.
PAN M 360 : I would love to hear how each of you sees the music of Beethoven.
Julia Mirzoev : Yeah. I think he was one of those, he was one of the first composers to make things really grand, really huge. Everything is just really large scale, but the actual music itself is quite pure, not simple though, but just very pure. So I think that kind of parallel is something unique and something that he made good use of.
PAN M 360 : I see, so perhaps you do see him as the bridge between the classical and romantic eras.
Julia Mirzoev : Oh yes.
Braden McConnell : He works with such a range of emotions and characters, and especially in what we’re doing, because we’re playing from the second to the eighth symphony, and I think that’s like 15 years of his career. And I think he had a sense of humour too, because there are these moments where it’s like fortissimo and then all of a sudden it’s all cute and tiny and then back to fortissimo again. And it’s just amazing to me how much range emotionally he can put into these tiny little ideas.
PAN M 360 : And as a pianist do you have a special relationship with Beethoven, Antoine?
Braden McConnell : I think so. For me he offers the best of both worlds because it’s very symmetrical and mathematical, but somehow it’s still very powerful and emotional music. So that’s the challenge of his music for me. It’s challenging to be playing something that is so perfect in its essence, but then so human as well.
PAN M 360 : And I suppose we should give Mr. Arensky his due. I had never heard of this program, what is his role here in the program?
Julia Mirzoev : Well, I think we wanted something contrasting from the Beethoven pieces which explore many thematic worlds and colours, but the Arensky piece is 30 something minutes of absolute lush romanticism. So it’s going a little further than Beethoven, you know, stylistically, but it’s perhaps not as rhythmically complex or, you know, symphonically complex, but it’s simply really beautiful music.
PAN M 360 : And perhaps what can you tell me about the process of taking orchestral work and adapting it for a piano trio? Does the violin or the cello take the melodic role most of the time?
Antoine Rivard-Landry : Oh, that’s a very interesting question. I suppose for some people that’s their job or life’s work. I suppose to do it you have to be a great composer. Those people who wrote the arrangements were great composers too. So I think you have to be a good composer and understand what an orchestra needs in order to construct it.
Julia Mirzoev : I think they probably use a lot of different combinations of substitutions. Sometimes Braden and I will get a different wind instrument, and so we have to emulate that, and the way that a horn solo would sound is a lot different than an oboe solo. We have to adjust accordingly and we can’t just play everything kind of the same way and expect people to buy it. We’re going to have to do our best to bring out the unique characteristics of each voice as they were originally intended.
Braden McConnell : One of the biggest challenges in it is there are moments where Julia and I will play what’s originally an oboe and bassoon duet and then all of a sudden it becomes a string and violin duet, and so we have to respond to each other in a new way. So to find a way to match the colour and the sound so that the first time we play it, you’ve got that kind of more nasally wind sound and then the second time the lusher string sound.
Antoine Rivard-Landry : For my part, sometimes I have to play the strings and it’s good that these two are here because I have to learn how to play a conductor as well. So sometimes they can teach me on, you know, how string players would actually perform certain passages in the orchestra.
PAN M 360 : And I suppose even though the arrangements have already been made, you also have to interpret their score and make it suit your vision?
Antoine Rivard-Landry : Yes for sure, that’s something that we stumble upon a lot. Sometimes I have to say the choices the arrangers made feel a bit weird to me. So that’s a discussion that we have time and again about whether certain sections could be made better. Whether it’s something that we need to adjust in the score or with the instruments, sometimes it’s not clear, but it’s a fun process figuring it out and sort of like being the judge of an arranger.
PAN M 360 : So do you feel you have the liberty to change something in the score if it doesn’t necessarily work for you?
Julia Mirzoev : Oh, yeah, because we’re playing something that’s not in its original form anyways. So that creates a kind of thickler line of what’s acceptable or not in amending the score.
PAN M 360 : Oh that’s fun.
Julia Mirzoev : It really is. And I think some of these arrangements were made a long time ago and you know, even editions of pieces that are standard are constantly being revised as more research gets done. There’s alway revisions happening in the professional editing world and so I feel that we are at liberty to make small changes based on Beethoven’s actual music, but of course we’re not trying to change the whole thing.
Braden McConnell : Yeah, and there’s a certain difference in goal as well, because some of these arrangements were made with the purpose that if you wanted to listen to a Beethoven symphony and you couldn’t get an orchestra together, you should get three friends together and play it in your living room. Whereas now, with an audience full of people who can go on Spotify and listen to 16 different versions of Beethoven’s sixth, sitting patiently and watching us in a concert hall, there’s a certain expectation that it not just kind of reflect the music but we have to convince them that there’s a reason to play it for a piano trio instead of in a symphony.
PAN M 360 : Well that’s an excellent note to end on, I think. We’re very excited for this concert, and it’s soon! I imagine you have one or two more rehearsals ahead of you?
Julia Mirzoev : Oh no, more like three or four.
PAN M 360 : Well best of luck, thanks again!
Julia Mirzoev : Thank you, see you on the 3rd!
Acid House DJs, police officers, rave goers: we are into ‘80s rave culture in the UK. Young people used to grab a flyer, and call a telephone number in a public telephone box to obtain the secret location. And then, it started a cat-and-mouse game between the organizers and the police.
In Pursuit of Repetitive Beats is a virtual reality experience that celebrates multiculturalism and community, through the prism of late ‘80s politics and society. Darren Emerson, the director, succeeded in compiling a single creation: a documentary series, testimonies, archival footage, pieces of period music that make us relive life scenes transcending an entire youth. Emerson is also an artist, writer, producer, and Co-Founder of London production company East City Films. His work, usually, fuses cinema, theatre, music, interaction, immersion, and embodiment. His work is regularly rewarded: Grand Prix Innovation at Festival du Nouveau Cinema, Best VR Experience at the Broadcast Awards, Best VR Narrative at the World Press Photo Awards award for Immersive Non-Fiction at IDFA Doclab, Best Location-Based Entertainment at the prestigious VR Awards 2023 and Venice Biennale! PAN M 360 had the great opportunity to experiment with this masterpiece and talk about it with Darren Emerson.
PAN M 360: Darren, as a director, this is not your first VR film. The list is growinglonger and longer: Witness 360: 7/7 (2015), No Small Talk (BBC, 2016), Letters fromDrancy (Illinois Holocaust Museum & Education Center, 2023) or in 2024 for SXSW(and many more). Regarding In Pursuit of Repetitive Beats can you tell us more aboutwhat led you to work on the theme of rave culture in the UK in the ‘80s?
Behind the scenes:
Darren Emerson: Ever since I started exploring VR as a creator, I have had this experience in the back of my mind. In a sense, I was waiting for the right time, and the right conditions to be able to make it. Some of that was around the technology maturing to a place where the storytelling was possible, and some of that was also my own craft as an artist in the medium getting to a place where I could do the subject matter justice. I would say that In Pursuit of Repetitive Beats represents the culmination of around 9 years of work and experimentation in the medium of VR, a development from my first piece in 2015 to now. In terms of what led me to this subject, however, well, that is based on a lived experience of rave music in the UK. Although I wasn’t raving in 1989, by 1995 I was old enough to be traveling in my friend’s car to illegal raves around the South of England … and much of the spirit of adventure you feel in Beats is me trying to recapture that. 1989 is a more significant cultural and political time to set the experience in, and it deals with the pioneers of this scene. With In Pursuit of Repetitive Beats, I want to take audiences back into the thrill of one night in 1989, to use this immersive experience to re-examine what this moment means through the intersection of storytelling and interaction.
PAN M 360: I had the chance to experience this remarkable multisensory work and Iadmit that I simply loved it! It is a hybrid documentary at the crossroads of archives.There were testimonials, archive images or videos and even flyers! Explain theartistic process for scripting this complex ensemble.
Darren Emerson: I always start any project by exploring the story first. The technology and the techniques come after that. I think the key to the success of this piece is to frame it over one night: in that sense, you have a clear user journey, a clear first-person narrative, and within that you can explore the wider more textualized documentary narrative. Whilst researching the rave scene I watched many standard documentaries about it, where the formula is to have archive footage married with talking head interviews of people describing what they did and how it felt. It’s a classic music documentary trope. For me that always feels slightly frustrating, because I want to be there, I don’t just want to hear about what happened, I want to be in the middle of the action… to be IN the documentary, and to feel the emotions. In Pursuit of Repetitive Beats is an artistic reaction to this. So, once you have the central concept of the idea (to create a music documentary you partake in), and then frame it within a certain narrative structure (it takes place over one night), then you can start exploring the elements of that night and the environments.
The environment is a key part of spatial storytelling, and so part of the process is exploring those environments and how environment and interaction can help the story unfold. Designing environments and interactions that feel intuitive and allow the audiences a sense of agency in the unfolding narrative, is a lot of fun. Some ideas work, and some you test and they fail … it’s about exploring and trying to think differently about how a narrative can unfurl. All the elements you mentioned in the question: archive, animation, interaction, haptics, spatial sound, all have a part to play. The key is making all of these elements fuse together in a way that allows the audience to get lost in it, and forget they are wearing a headset.
PAN M 360: The visual is a crucial part, of course. Multiple software types are used:Unity, Maya, Blender, Substance Painter or Abode After Effects. Regarding music, wetouch the heart of the subject. Among other things, I was able to recognize music byMax Cooper or Joe Goddard. How did this alchemy come about?
Darren Emerson: Originally, I had this idea that all the tracks would need to be from 1989/90. And most are … but then I also didn’t want to be slavishly rigid to that concept if it didn’t feel like it was serving the audience. So, in the end, there were a couple of modern tracks that I felt would work in a more cinematic sense. Joe Goddard’s track “Children” for the ending; which feels euphoric and somewhat sentimental yet still a banging track, and then Max Cooper’s track “Aleph 2” for what I feel is one of the most pivotal scenes in the experience. I’m a big fan of Max, and his videos, and I remember coming across this track and instantly visualizing what became the scene of people in convoys of cars trying to get to the rave whilst being pursued by the police, which takes place in an ethereal world of classic flyer artwork!
To be honest, at the time I was struggling with that scene conceptually, and that track really inspired my approach to it. There are also a few tracks from a big UK Acid House label called Network Records which was based near Coventry in the midlands of the UK, and they were one of the biggest labels for this music in that era, and they still re-issue tracks today. So it was good to work with them on discovering lesser-known tracks from the period. And of course, opening the experience with Orbital’s “Chime” was a no-brainer. It’s such a seminal track of the period…and a true classic! As is Joey Beltram’s “Energy Flash” when you get to the rave.
PAN M 360: Last year, you made a totally different VR film, created by the Illinois Holocaust Museum called Letters from Drancy. It is a poignant virtual reality experience that illuminates the power of an unbreakable bond between a mother and her daughter during the Holocaust. How do you approach such diverse and varied subjects while defining the appropriate VR production techniques to obtain a unique experience each time?
Venice Immersive 2023 – Letters From Drancy
Darren Emerson: I started Letters From Drancy a month after the completion of In Pursuitof Repetitive Beats, and it’s fair to say it was a bit of a shift mentally. However, I consider the most important element of any VR project to be storytelling, and so I really leaned back into that craft, which I would probably describe as a form of creative non-fiction storytelling. So, the focus for me was the challenge of how I represented the protagonist Marion Deichmann’s story and do justice to the legacy of her mother and the history of the Holocaust. It is such an important and vital topic, and emotionally very challenging, but I wanted to try and find the universal elements in the story that really spoke to me, and that I thought would speak to the audience.
Ultimately the decision was to not make this piece about the horrors of the Holocaust but to make it about the love we have for those who mean the most to us, and how that love remains present within us even when those people depart. I think when people come out of Letters From Drancy they aren’t crying because of the tragedy of the Holocaust (although that is obviously important to acknowledge and live with), but they are crying in the acknowledgment that the human heart has an unbridled capacity to love and forgive. That is a credit to the remarkable Marion Deichmann, someone whom I am in awe of and feel so privileged to have met.
PAN M 360: For future projects, are there any themes you would like to address orinnovations to implement?
Darren Emerson: Most of my work really centres on ideas and themes around community. I’m interested in how the experiences themselves can not only observe and comment on notions of community but can also create moments within them where the audience themselves feel as if they are part of a community and act within that context. I’d say I am definitely a humanistic director; I like to examine and recontextualize our lived experience, and I guess try to make sense of it. The good and the bad! In terms of VR and future projects, I think my goal is to keep pushing the medium forward, to keep telling complex and rich narratives, and to create work that explores my passions, and that contains within it something important that I want to impart to audiences. This could be about human connection, it could be about the importance of community, it could be about the joy of dancing, but I want to really move audiences emotionally. Getting a VR experience off the ground is challenging. Being funded to create something you believe in is an enormous privilege. Each time I make something I think to myself that this could be the last time I ever get this opportunity, so I better leave it all out there! I want to blow people’s minds!
In Pursuit of Repetitive Beats is being hosted at the Centre PHI Until April 28.Tickets Here
Martha Wainwright needs no introduction. She’s a famous singer-songwriter, yes, but since 2019 she’s also the owner of Ursa, a superb space for musicians and audiences in search of intimacy, located in Danny Saint-Pierre’s former Little House on Avenue du Parc. The space has rapidly become a fixture on the Montreal music scene. What started out as a monthly jazz-ish get-together will be transformed, from 26 to 29 March, into a true festival. It’ll be jazz at its most legit, of course, old and brand new, but there’ll also be some experimental, electro and non-gendered stylistic detours, with indie music peeking out from the brand new clothes of this event. Produced in partnership with Pop Montreal (whose offices are just upstairs, which is perfect!), the Montreal Anti-Jazz Police Festival promises to be a great night out, packed with three concerts a night, and at a very small price!
A few names on stage : Dave Binney, Erika Angell, Sarah Pagé, Tommy Crane, Sarah Rossy, Andrew Barr, Bellbird…
The Semaine du Neuf, organized by Le Vivier, is drawing to a close, but there are still some fine discoveries to be made this weekend.One of them is the graduation concert of German composer Matthias Krüger, winner of the 2023-2024 New Music Residency awarded by CALQ, Le Vivier and the Goethe-Institut.This concert, to be held on Sunday at Ascension of Our Lord Church, will take us on an exploration of the sound potential of the organ, with the addition of an electronic device that controls the instrument in real-time.This concert will also be an opportunity to hear the work resulting from his residency, L’être contre le vent.
PAN M 360 spoke to Matthias Krüger about his artistic residency, his creative process and his fascination with sound.
PAN M 360: What were the aims of the residency you’ll be concluding with Sunday’s concert?
MATTHIAS KRÜGER: It’s a four-month residency, divided into two parts. I was here last autumn for two and a half months, and now I’m back for six weeks. It’s a residency for which you apply with a project of your choice. The idea is really to discover the place, meet people and be inspired by another environment.
PAN M 360: How did you come to set up this project?
MATTHIAS KRÜGER: When I arrived, I knew I wanted to do a work for a computer-controlled organ. Then I met Adrian Foster [the organist for Sunday’s concert] who was very interested and gave me access to the organ at Ascension of Our Lord Church. Towards the end of the first part of the residency, we went to try out the organ, and it was really great, very inspiring and exciting! And from there came the idea of doing a concert at the end of my residency, and making it an improvisation based on ideas.
PAN M 360: Tell us about the electronic component of your project.
MATTHIAS KRÜGER: In a way, this project is also about lutherie, electronic lutherie. You have to start by asking yourself what parameters you want to control in the organ, particularly on this organ, because not all computer-controlled organs work in the same way. Once you’ve understood that, you need to configure and program. Then there’s always the question: how do you control the parameters and the sound? Because that’s what music is all about. It’s the manipulation of sound over time.
PAN M 360: What characterizes this project, which combines acoustic and electronic sounds?
MATTHIAS KRÜGER: When you make electronic music, you realize just how complex an instrumental sound is, in its gesture, evolution and amplitude. You have to take into account all the movements required to produce a sound. So how can we create this richness in another way? The problem with electronic composition is to control several things at once so that they become organic.
All this has repercussions on the music we compose or imagine. Obviously, you have to know the instrument before you can compose for it. After that, the music flows from all the possibilities offered by the instrument. What’s interesting for me, above all, is to achieve mastery of the instrument, but also to be able to divert it a little, to do something else with it.
PAN M 360: So the concert will be a kind of four-handed organ concert but distanced?
MATTHIAS KRÜGER: Yes, it’s a bit like that. There’s a lot of coordination between us. For example, Adrian can play on one keyboard without it making a sound, or I can take the notes he’s playing and send them to another keyboard. I can also control the rhythm and registers, for example. There’s a kind of interactivity in the device that goes both ways.
PAN M 360: What was it about this particular organ, at Ascension of Our Lord Church, that lent itself so well to your project?
MATTHIAS KRÜGER: Not every organ is suitable for this. Not only do you need an electrified organ, but you also need a midified organ. Already, that narrows down the possible choices. Also, the availability of the organ was important, since the residency was done in two stages. When I was away, without access to the instrument, I could do maybe half the work. But after that, you have to test the device and hear how it goes. This question of access was very, very important.
PAN M 360: What themes do you particularly like to explore in your work?
MATTHIAS KRÜGER: What interests me is the fascination of sound, i.e. imagining myself in a silent, reverberant space. And my activity determines the existence of sound. And that’s what’s interesting about the organ: it’s always integrated into a space, it’s not a mobile instrument. This is what gives it its particular acoustics, and these acoustics mean that the sound is much less localized, coming from just about everywhere. The interesting thing about this is that you can create a context in which the identity of the sound is blurred.
PAN M 360: And how will this manifest itself in L’être contre le vent?
MATTHIAS KRÜGER: With the electronics in the room, this will blur the source of the sound a little. Since the sound seems to come from everywhere, it encompasses us. And with loudspeakers, we can also add another layer that gives the organ a slightly mysterious, monumental effect. Because the organ is a gigantic instrument, it can make a lot of noise, but it can also be very fine.
After that, controlling the organ by computer gives it a sense of eternity. It’s only possible on the organ. There’s this feeling of being out of time, which is already a bit inscribed in the way the instrument works. The potential to create something never before heard on the organ is enormous.
PAN M 360: The work you’ll be presenting is entitled L’être contre le vent.What does this title mean to you?
MATTHIAS KRÜGER: It’s taken from a poem by Paul Valéry, La jeune parque. The connection isn’t very close, it’s more an evocation of the organ being fed by the wind. Wind, and by extension air, are inherent to music. Without air, there’s no music, as in space, for example. For me, the wind is also a powerful metaphor for the sound that touches us, surrounds us and confronts us. In the poem, at the end, there’s this image of a woman at the seaside and the wind engulfs her. She puts her being against the wind. Ultimately, she’s contemplating her whole existence by looking out and confronting these forces of nature.
So I wanted to try and imagine in this church space being confronted with a mass of sound that seems eternal, but of course isn’t, because art is always artificial. It’s not about the truth, but rather about evoking the truth. Or to recall the truth. In fact, music is something very physical, something that enters our bodies. It’s this holistic aspect that fascinates me, this bodily aspect, that I generally seek in my music. I thought that, for this project, it was a very beautiful image.
Matthias Krüger’s L’être contre le vent will be presented on Sunday, March 17 at 8:30 pm at Ascension of Our Lord Church, as part of Semaine du Neuf, presented by Le Vivier. INFO AND TICKETS HERE!
FIFA, MUTEK and the Société des Arts Technologiques (SAT), with the support of the Consulate General of France in Quebec City, present an exceptional line-up, this Friday March 15 in the SAT Dome, of electronic artists from North Africa (Tunisia) and the Middle East (Lebanon). The event is part of the Regards de femmes program in partnership with the Paris-based Institut du monde arabe.
Deena Abdelwahed is the evening’s star artist, one of the most promising producers and DJs to emerge on the alternative electronic scene in recent years. This Tunisian, based in Toulouse since 2015, has produced numerous critically acclaimed albums on the sublime Parisian label InFiné.
Entwining an electro musical body, deep bass, percussive rhythms as well as an Arabian envelope, Deena has developed a unique and innovative sonic identity. PAN M 360 had the pleasure of speaking with her to shed light on her career path, her creative codes and her perception of the ever-evolving scene.
PAN M 360: Deena, your path and rise on the alternative electronic scene are remarkable because your musical and artistic identity are totally unique. Whether it’s your musical selections for your DJ sets or your productions (EP, album), we sense through it all an immense amount of research and thought, but also your individuality shining through. It’s undeniable that you’re one of those female personalities with unparalleled charisma. How would you sum up your career so far?
Deena Abdelwahed: Woah! Thank you for this very flattering introduction! I feel like I’m still in my infancy! Even after 8 years of touring… and it feels like it’s far from over. In any case, I’m very grateful for the years that have gone by, and I’m very grateful to the people who’ve had faith in me and helped me move forward 🙂 Jbal Rrsas loosened things up in me. Since this album, I’m keen to go even further and develop more live performances such as touring, or to deepen my political and philosophical views in relation to music, as well as acquiring new and innovative creative skills.
PAN M 360: Since 2017, your releases -Klabb, Khonnar, Dhakar, Jbal Rrsas, having been very successful- have been on the InFiné label. This is an extremely eclectic and famous label-Carl Craig, Clara Moto, Murcof to name but a few-offering a broad musical spectrum ranging from classical to pop to electro. How did the two of you come together?
Deena Abdelwahed: Quickly! I’d even say it was love at first sight, or maybe a stroke of luck too. My tour agent had discovered me and was already working with InFiné. They asked if I had any demos for them to listen to, and the Klabb EP came out.
PAN M 360: Part of your artistic beauty comes from the authenticity and sincerity of your message through your creations. For example, Khonnar is a work that acts as a manifesto, declaring war on the violence and oppression imposed by borders, migration rules and repressive legislation. Your musical selections also send out a message about the Swana community’s ability to explore modernity and creativity in music, and to break away from folklore clichés, which are certainly an asset, but can also compartmentalize. Could you tell us more about this aspect of your commitment?
Deena Abdelwahed: Indeed, I couldn’t make music just for the sake of making music given my life path. Certainly, I’m in love with club music and its constant innovation, nevertheless, in view of my personal experiences in terms of geopolitics in connection with my region, with the fact that I’m the daughter of Tunisian immigrants and evolving in the Western world, it’s more than natural for me to draw on all these influences to compose, In addition, when I’m looking for tracks to mix, it’s a great source of inspiration for me.To be honest, it’s not an easy path I’ve chosen, because electronic music already has its school and so does oriental music. It takes talent and patience to turn all that on its head and develop my musical universe so that it too becomes the new convention, the new norm.
PAN M 360: You’ve performed extensively in Europe and North Africa: Sonar Festival, Dunes Electroniques in Tunisia, CTM Festival in Berlin, Dekmantel in Amsterdam, Dour festival in Belgium, Lunchmeat Festival in Prague, not to mention clubs such as Feu-Concrete in Paris, Berghain in Berlin, Mutabor in Moscow and more recently the Trabendo (Arte Concert broadcast). Mutek has programmed you in Mexico and Montreal (2023). Today, what brings you here to Montreal is a collaboration between Mutek and FIFA in partnership with the Institut du Monde Arabe (Paris). How are you going to approach your DJ set for this evening?
Deena Abdelwahed: I’m thinking of approaching this DJ set in a very personal way, i.e. as if I were at home! During my last Mutek performance, I quickly familiarized myself with the audience. What’s more, I’ve got a lot of friends here. This time I’d like to play a challenging, charged DJ set, THICK.
Live at ARTE Mix O Trabendo 2023
PAN M 360: In the fall of 2023, I wrote a long report on Montreal’s Swana electronic scene, which is under-represented in terms of programming even though the population represents the 2nd largest visible minority group and the pool of artists is abundant. So it’s fitting that Mutek should offer a line-up of 100% Swana electronic artists! Nevertheless, on the international scene, we’ve seen the rise and dynamism of many artists on the electronic scene. How do you perceive all this in Europe or internationally?
Deena Abdelwahed: I agree with you. Looking at the situation in Europe or internationally, I can see that there is more “visibility”. What’s more, Arab artists are finally starting to deconstruct and re-establish their relationship with Arab music. Sometimes for its own sake, sometimes for its musical aestheticism! It’s a pretty complete and rich cultural baggage! Before, I had the impression that we were just out of step… out of date. The democratization of club music and the facilitation of musical composition via computer has encouraged everyone to get involved, and to discover multiple ways of demonstrating and making visible one’s authenticity.
PAN M 360: To conclude this interview, PAN M 360 would like to know what your future projects are?
Deena Abdelwahed: Answering my emails on time 😀 meeting deadlines 😀
I have quite a few projects, but I can’t talk about them right now. They’re all commissions. And I’m continuing my Jbal Rrsas Live Set tour too.
That’s it! Thanks for this interview! Hope to see you soon!
Presented jointly by MUTEK, the Society for Arts and Technology and the Art Film Festival, this program including Deena Abdelwahed, Liliane Chlea and Nahash is scheduled at the SAT this Friday, March 15, 10pm. Info and tickets HERE
“Cool Trad” is the third album by Nicolas Boulerice, conceived with Frédéric Samson, a long-time friend and collaborator. Diverging from the mainstream currents of Quebecois traditional music, “Cool Trad” embraces the essence of texts, poetry, and the oral tradition of North America, alongside the melodies and jigs of antiquity, all while infusing it a modern jazz sensibility. This fusion is exemplified through a collection of approximately twelve songs performed at moderate to slow tempos. In this third collaborative effort, Nicolas and Frédéric expand beyond their usual voice-double bass duo, incorporating the baritone guitar and the melodica into their compositions.
SHOWS TO ATTEND
Friday 1er mars Studio Telus Grand Théâtre Québec Saturday 2 mars La petite Place des Arts Saint-Mathieu-du-Parc Sunday 03 mars Maison de la musique Sorel Satirday 13 avril CRAPO St-Félix-de-Valois
Before the Taliban, before the Americans, before the Soviets, there was an Afghanistan that dared to think about a future of nightlife, cinema, music and peace. Like Eagles (or Mānand-e ‘Oqāb in its original title) is believed to be the very first film shot in Afghanistan, in 1964. In a surprisingly symbolic and modern production, it follows a young girl who sets off from the countryside to attend national celebrations in Kabul, the “city”.
It was from this film that Afghan-Canadian author and comedian Shaista Latif came up with the idea of offering a reflection on these broken promises, and above all on our own relationship with modernity, identity and nationalism. With the help of Montreal composer Sam Shalabi, the film in question becomes the subject of a total spectacle in which text, music and image are turned upside down in their discursive relationships. I met the two artists, as well as Isak Goldschneider, clarinettist and co-organiser (with Le Vivier) of the evening thanks to Innovations en concert, which he directs. Together they tell us all about this totally unusual adventure, which promises to be a great evening for the curious.
As part of the Semaine du Neuf festival organised by Le Vivier, the percussion ensemble Sixtrum will be giving a concert entitled Transformations on Monday 18 March at the Conservatoire de musique de Montréal. On the programme are works inspired by, and even played IN, water! In complementary contrast, two pieces by Pierre Jodlowski, who will be making his first appearance in Montreal. I met Sixtrum’s Deputy Artistic Director, Fabrice Marandola.
THÉÂTRE ROUGE | CONSERVATOIRE DE MUSIQUE DE MONTRÉAL
Program :
Dominic Thibault: Célérité , 2020
Léa Boudreau: Jeux d’eau , 2020
Samuel Bobony: À grand fracas , 2020
Juri Seo: Shui , 2017
Ondřej Adámek: Fishbones , 2007
Pierre Jodlowski: 24 Loops , 2007
Pierre Jodlowski: Mécano 1 , 2004
SIXTRUM
FABRICE MARANDOLA
KRISTIE IBRAHIM
PHILIP HORNSEY
JOÃO CATALÃO
CHARLES CHIOVATO RAMBALDO
HUIZI WANG
As part of Semaine du Neuf 2024, the Paramirabo ensemble will present a concert on Saturday, March 9, dedicated to three compositions by Jimmie Leblanc.The main theme is the haptic experience, in other words, the experience of touch.To put together this program, the composer revisited and reworked works composed nearly 10 years ago.One ofthese, Ice, was created in collaboration with artist Fareena Chanda and physicist Stephen Morris. At the heart of this project, therefore, is a strong interdisciplinary focus on the active experience of music and art.PAN M 360 spoke to Jimmie Leblanc and Fareena Chanda about the conception and rehabilitation of Ice.
The three pieces on the program for Saturday’s concert all follow the same continuity and logic of writing. First, there was And the Flesh was made Word, then Ice, and finally Clamors of Being, the latter presented as a diptych with the former. These three works are part of the same continuity, responding to the same objectives, but where Ice nevertheless stands out as a separate piece.
Ice was created in 2015. The trigger was Toronto’s Subtle Technologies festival, which brought together composers, artists and physicists. Jimmie Leblanc explains: “There were several events in that festival that involved technologies and all that… Then the project was to pair composers with artists and scientists. There were meetings where everyone presented their approach, and there were groups that were made.” Leblanc, Chanda and Morris’ shared interest in haptic experiences led them to meet, and then create together. “There was the idea of working on the sensation of the work, whether visual or sonic, on a kind of energy or the immersive principle of the work,” adds Ice‘s composer.
As the title suggests, the piece is about ice, and more specifically, how it forms: Stephen Morris was interested in how ice cubes form. It was after a visit to his laboratory that the creative work began. Fareena Chanda sought to visually represent the physicist’s experiments, while Jimmie Leblanc wanted to musically convey a range of textures. As he explains: “The textures were thought out in terms of the different states of ice that can be found. More or less fluid, more or less rough, more or less abrupt, all sorts of sensations you could find. The visuals went a bit with that too.”
For the concert, we had to adapt the work a little so as to be able to present it in a different context from the one in which it was created. “Originally, the installation had been imagined as U-shaped, as an environment you could sit in, with three screens and a metal floor to add that haptic, sensory aspect, to allow the audience to be immersed by appealing to all the senses,” Fareena Chanda explains. That said, the work will be presented on Saturday at the Centre PHI, whose layout and modalities differ greatly from the original creation site. “We wanted to maintain the haptic and immersive experience of the piece, particularly the way in which you find yourself integrated into the work. We researched materials on which to project the video elements that would also convey the textural element of the piece. I think this place will be a bigger immersive environment than the first time,” adds Fareena Chanda. The scores of the three pieces on the program have also been revised by Jimmie Leblanc, and we will then witness the creation of this new version.
As such, this concert promises to be truly interdisciplinary. This aspect manifests itself in different but complementary ways in the artistic approaches of both artists. For Fareena Chanda, interdisciplinarity is an integral part of her creative process: “I work at the intersection of conceptual and installation art, and use mixed media as much as traditional methods. I practice research as art, where sketches and drafts become part of the final work. And sometimes, the work becomes a kind of amalgam, for example, an installation, as in this case, where I want the public to retrace the same creative journey as I did.”
“For my part, as a composer who mainly makes instrumental music, I’d say that interdisciplinarity comes from my work with performers. Their specialty is performing, mine is composing, but these are two disciplines that are in constant interaction, to the point where it becomes normal and you stop thinking of it as interdisciplinary. On the other hand, when I come across projects like Ice, there’s a real interdisciplinary relationship that develops, where you have to create with other artists who potentially have different conceptual paradigms,” adds Jimmie Leblanc. In his work, interdisciplinarity is an element that has the potential to nourish his creative approach and that of his collaborators, and vice versa.
The public is invited to take part in this immersive concert experience, in which we’ll be immersed from the moment we enter the auditorium. As Fareena Chanda explains, this event also touches on some more abstract concepts. “There’s this relationship between what’s hidden, the passage of time, and this work that invites the public to enter this space as active participants. Very active, in fact. Active with the body and all the senses. In all my works, my goal is to invite people to embark on a journey, without it being done in a prescriptive way.” The installation will also be open and accessible on Sunday, with a recording of the instrumental part of the performance.
The Iceconcert will be presented on March 9, 2024, starting at 6 p.m. at the Centre PHI, with Ensemble Paramirabo.As part of the Semaine du Neuf from Le Vivier.INFO AND TICKETS HERE!
A raconteur writing at the borderlines of where country meets chaos, Nora Kelly sings endearing tales of heartache and rebellion. With her sharp and soulful songwriting Nora has charmed the hearts of many on the local alternative-folk scene, releasing her first LP, Rodeo Clown, with the the support of BC based label Mint Records. Now six months after the fact, after seeing her performing at a house-show, we caught-up with Nora to see what she has been up to and how the music is going.
PAN M 360 : Your set last week was really great and I’m happy to have the chance to talk to you Nora.
Nora Kelly : Thanks, that’s sweet.
PAN M 360 : So how long has it been since Rodeo Clown came out now?
Nora Kelly : It came out on August 25th, 2023. So, six months about.
PAN M 360 : Well that’s an interesting time to be at with a release. How do you feel, looking back at your first album launch?
Nora Kelly : Of my life it was the most energy I’ve ever put into a release and I think because of that, on the other end, it was the most sad I’ve ever been once it was over. It was a crazy emotional roller coaster. It was just so much fun, we were touring and making all these videos and then… then it’s just over and you start from scratch essentially. So I feel like at this point now, six months out, I’m back to being sane. But there were a couple months, September and October especially, that were kind of rough. I was like an empty nester mom whose kid just went off to college or something like that. I don’t know…you do everything to build it up and then you’re at zero again basically for the next wave of putting out an album.
PAN M 360 : Well, that’s led to these great songs that I heard at your performance, right? So you’re not doing too bad!
Nora Kelly : No, I’ve been cranking them out. That was the medicine I needed. I needed more children to raise.
PAN M 360 : And so what kind of direction are you taking here?
Nora Kelly : I kind of want to lean into outlaw country vibes. I feel there’s a lot of amazing outlaw country artists like Waylon Jennings or Townes Van Zandt or something, but they’re all men and there aren’t that many female outlaws to aspire to. Maybe Lucinda Williams is a little bit of an outlaw, in her spirit. So I kind of want to channel that, because my background is in punk, but also lyrically kind of exploring more of a storytelling approach. It’s not all super based in my personal life and growth now, but I’ve taking inspiration from friends’ experiences and stuff. I mean it’s a little bit all over the place. It’s everything but the kitchen sink, this next album, but I think that with the band it becomes coherent.
PAN M 360 : So then really leaning into the punk influences as well as the country.
Nora Kelly : Yeah cow-punk.
PAN M 360 : Well, I mean actually after seeing you perform I really checked out a lot of artists that I hadn’t really heard of before, and it got me thinking, what is country? Where does the line between folk music and country music become blurred?
Nora Kelly : Yeah, I mean, I feel like you could do a university course on that question, but because there’s some discourse around Americana is what a lot of left-wing country musicians in Nashville get labelled as, and the right, more right-wing people or the more conservative people get labelled as country. It’s kind of a bit arbitrary. Members in the Nora Kelly Band will sometimes say that we’re not really that country, which is sort of true. I think in 2024 that genre has become pretty loose. To me it’s about arrangement and themes and the instruments that are going to be on the album. Definitely a lot of pedal steel, fiddle, banjo, you know. Just kind of…, we’re saturating ourselves in the sounds and essence of country, but I mean, I’m obviously not born and raised from Kentucky or something, so yeah.
PAN M 360 : I can see you’re having fun with that idea, like “Horse Girl”, you know, it seems very tongue-in-cheek. You’re using these clichés and tropes to explore more subversive ideas.
Nora Kelly : Yeah, exactly. And I think that some people in country take themselves extremely seriously so it makes it more funny to kind of mess around with the genre to me. I feel people are doing that in general, like Lil Nas or Orville Peck are kind of like spinning it, because it outrages a lot of people and because they love the genre too. But I think there is a lot of room that’s kind of being kept as this sacred space only allowed to true country stars and that’s kind of changing now, where people are feeling more comfortable to dabble in it, I guess.
PAN M 360 : That’s good. I felt more comfortable listening to it for the first time!
Nora Kelly : Yeah, and it has a bit of a dark history,
PAN M 360 : Actually, I’d never heard of outlaw country before. Is that just a subgenre?
Nora Kelly : Yeah, kind of. Johnny Cash is like a classic example. It’s that criminal cowboy energy you know…
PAN M 360 : Yeah it suits you well!
Nora Kelly : I just want more women to do crime.
PAN M 360 : Ha. So this will all lead up to a new album I suppose yeah and is that kind of slowly making its way to us?
Nora Kelly : We’re trying to secure some grant funding. And yeah, looking towards who we’re gonna work with and everything, but the album is pretty much written at this point. At least by me and then we’re still working out some arrangements. It’s been really fun, it gives me an opportunity to kind of reach out to people and ask if they would like to get a coffee with me because I want to talk about the next album. So I feel like I’ve connected with some cool Montreal musicians in the genre and the scene.
PAN M 360 : Do you have a name for the upcoming project?
Nora Kelly : No name yet. But I wish I did, but yeah, the songs are there. There’s some gender-bending kind of stuff. I’m sort of appropriating different male gender roles in some of the songs. One’s about being a miner in the salt mines of Lake Huron, Ontario, and one’s about being a boxer, you know? So kind of stuff like that.
PAN M 360 : A killer too? I remember I heard a song like that at your show.
Nora Kelly : Oh, one is about, yeah, it’s about being an asshole dude who gets murdered by his Tinder date. A Murder ballad, that’s a classic little country thing.
PAN M 360 : I gotta write me a murder ballad, too.
Nora Kelly : Yeah, you should. I know. You should, I think everyone should write at least one murder ballad.
PAN M 360 : You know, it’s great you’re having fun with all these characters and stuff. It such an interesting and creative direction to take. You know, a lot of people sing about themselves, and a lot of people have this penchant of telling stories. You must lean into that a lot.
Nora Kelly : I do. I lean into that a lot. I think the healthier I become as a human, the less I have to write about in a song. Right. When I was younger, I was just, I feel like everything was always really chaotic in my life. And I had a lot to put into songs. But the older I get, the more I kind of have to look towards storytelling. But I actually enjoy that, and I think I’m becoming a better writer for it.
PAN M 360 : Yeah, it’s really cool. And I wonder, is there some sort of ritual that you get into to write?
Nora Kelly : It’s difficult to pin it down to one thing, but one thing I’ve noticed is that a lot of the vocal melodies and lyrics will come to me while I’m walking around. So I recently gave up my iPhone for a Blackberry because I noticed I was always listening to music or podcasts while I walked around. Right. And I’ve written a bunch more songs since I switched. Yeah, I’m just walking around, raw-doggin it.
PAN M 360 : Yeah, well, I mean imagine how many people are missing out on that, you know? We all do that, you know, we’re all distracting ourselves from boredom.
Nora Kelly : Boredom sucks, so I get it. And I want to just listen to audiobooks of like fantasy elves all the time or something. But I won’t write any songs and I won’t really be as introspective as if I kind of forced myself into that. So it’s helpful, but it’s not always fun. It’s not always that fun.
PAN M 360 : So any great music that you’d want us to hear about?
Nora Kelly : You should check out Wood Andrews, who we played with at that show. I think he’s really special. He is one of my new friends, plays super good country music. What other homies can I plug? Tonk is like the best country kind of style band, very similar to R-Sound. Out of Vancouver, one of my best friends plays in that band and they’re just really cutting edge stuff. Really into Gus Englehorn, they’re kind of like the Pixies, weird stuff.
PAN M 360 : Right on. And any upcoming shows?
Nora Kelly : Well we just got into Sled Island today! In Calgary.
PAN M 360 : Well congratulations, thank you so much for taking the time to speak to PAN M. We wish you all the best and we hope to cover you more in the future, Nora!
Nora Kelly : Appreciate y’all.
Originally from Chicago, Matana Roberts, whom we must recognize as a non-binary person, has become a clear and powerful conceptual leader of this music at the confluence of contemporary writing and improvisation. They return to Montreal, one of their favorite ports of call and a former resident, to report (among other music) on the 5th chapter of her ambitious Coin Coin project, released last fall on Constellation Records.
Each part of Coin Coin explores radically different musical settings, from the free jazz and post-rock eruptions of Chapter One to the solo noise collage of Chapter Three. Featuring a new ensemble steeped in jazz, improvisation, new music and avant-rock, helping to expand the project’s existing sonic palette, Chapter Five is no exception, we can read on their Bandcamp page.
On their most recent recording released in September 2023, Matana Roberts were joined by fellow alto saxophonist Darius Jones, violinist Mazz Swift (Silkroad Ensemble, D’Angelo), bass clarinetist Stuart Bogie (TV On The Radio, Antibalas), alto clarinetist Matt Lavelle (Eye Contact, Sumari), pianist Cory Smythe (Ingrid Laubrock, Anthony Braxton), vocalist/actor Gitanjali Jain and percussionists Ryan Sawyer (Thurston Moore, Nate Wooley) and Mike Pride (Pulverize The Sound, MDC). The album is produced by TV On The Radio’s Kyp Malone, who also contributes synths.
Before their Montréal concert on March 8 2024, Matana Roberts answers to PAN M 360 questions.
PAN M 360 : Coin Coin Chapter Five: In the garden…is your latest installment as a composer, improviser, saxophonist, and visual artist. An album has been released on Constellation, a few months ago. So how is this installment « transcripted » in a live performance? Instrumentation? Interaction? Gesture?
Matana Roberts: The work is not transcripted. It is a combination of western notation, graphic notation, improvisation, and a series of directives. It really depends on the chapter that we’re talking about. The current chapter has not been performed, so there is a lot I can’t really answer yet, but we’re looking at opportunities to do that. All the chapters represent a sound language I’m trying to codify called panoramic sound quilting, and that comes with a series of information, notation and knowledge around improvised and creative music.
PAN M 360: How would you briefly describe the evolution of Coin Coin vast project after 5 chapters done?
Matana Roberts: All I can say is that it has been a real journey that is still unfolding. I feel very privileged to have been given the space to create this work, and see no end in sight yet!
PAN M 360: Has the first motivations of the Coin Coin project been preserved from point A to now?
Matana Roberts : Yes, pretty much. The Coin coin work is a monument to the human experience, regardless of where we come from, what blood runs through our veins, we are all connected through the emotions, trials and tribulations of humanness.
PAN M 360 : How new styles and musical influences has also shaped the recent chapter of your creative life, as a composer and multi-disciplinary artist?
Matana Roberts : I don’t feel I have witnessed any new styles or new influences, rather than just life, living, trying to have a holistic existence, staying connected through art and community.
PAN M 360 : How your own human being and artistic identities have changed since the beginning of this project and how can we perceive it as listeners and observers?
Matana Roberts : I’m evolving just like any human. The only dependable option that we have is change. I’ve had many experiences in many ways to consider an art existence. I feel very privileged that I’ve never had to corner myself in to be one type of person or one kind of way.
PAN M 360 : : The musicians gathered ont your most recent record is quite an eclectic crew! It also reflects your own great eclecticism and interests to many artistic sources. Can you talk about those different collaborators backgrounds and tell us the way you made them interactive and creative?
Matana Roberts : When this project is done, it will represent a very wide community across genre, medium and just life experience. Many of the people on the Coin Coin records represent people who I really admire and who have also shown me a great deal of support through my time of growing and changing and exploring creativity.
PAN M 360 : Of course, a recording session is not a live performance. You can invite people in the studio that have other activities, other solo careers or engagements. So who is traveling with you? Who are your key collaborators in 2024?
Matana Roberts : This is a very difficult question in 2024. Many networks for music are struggling. Some are dying. It’s not much better in the visual arts. So I don’t really think about who is traveling with me. I just think about opportunities I can create so that more musicians and artists can survive. There’s no one I can specifically say, as the list would be too long, and I would leave too many people out, but I feel very grateful that I have a large pool of people to choose from, to create with, and to collaborate with, who represent many different places, perspectives, and proclivities.
PAN M 360 : As a composer, Roberts draws upon strategies associated with the post-war avant-garde, including John Cage and Fluxus member Benjamin Patterson’s conceptual approaches to scoring and performance. The immersive work of Maryanne Amacher, in which “sound and the body almost collaborate” is another key influence.
John Cage, Benjamin Patterson and Maryanne Amacher were visionary artists at their time. We understand that their post-war avant-garde legacy is crucial for your own creative approach. Can you give us some examples of their compositional visions within yours?
Matana Roberts : I’m not able to specifically point to anything that would make sense to anyone else but me. Overall, I really look up to the way that these artists lived and the way that they carried themselves and moved through their work. I find their presence in and outside the canon deeply inspirational and compelling even so many years later, after so much of the work was created. To me, it seemed that they really lived their truths and it sat squarely in their work.
PAN M 360 : Matana Roberts’ visionary project exploring African-American history through ancestry, archive and place. Weaving together elements of jazz, avant-garde composition, folk and spoken word, Roberts Porn tells the story of a woman in their ancestral line, who died following complications from an illegal abortion.
Since many decades, the re-discovery of African-American history remains highly important for so many afro-descendant visionary artists. It’s still crucial and we want to know how that is for you, as a human being living in North America?
Matana Roberts : I have lived all over the world and am a constant traveler. I can’t really relate and just claim North America in my worldview about my work. It is where I was born, but it is not where I remain emotionally, personally, and spiritually. I’m not an American citizen as much as I am a global citizen and I take that very seriously. Also, it’s very important to stress that regardless of what people continue to say about the Coin Coin work, the focus is not just on African-American history. I get offended when people try to keep it in that corner, the Coin Coin is about the American experience but from a deeper globalist perspective and it’s important that it is shared. I use my own ancestry as jump off points into areas of human concern that affect all of us, regardless of where we come from. My interest in history is no different than anyone else’s, and should not be cornered culturally in the way that some are asking. Thank you for your understanding.
History is cyclical. Everything that is happening now we have seen before in different layers, different times, different rhythms, and we must look to history to constantly learn how to move forward instead of continually moving backwards.
PAN M 360 : At a time when reproductive rights are under attack, her story takes on new resonance. Can you please give us some more elements of that issue through your own comprehension and your artistic response to that issue ?
Matana Roberts : The issue is very clear on the record, and also in the record liner notes that I personally wrote. It would be worthwhile to give that a look, but basically a person‘s bodily agency belongs to them regardless of sex, gender, race, social economic status. Your bodily agency should not be dictated by the state, and that is the issue.
PAN M 360 : By unpacking family stories and conducting extensive research in US public archives, Roberts has created a rounded portrait of a woman who is, as their lyrics put it, “electric, alive, spirited, fire and free.” You are going to perform on March 8, what does it mean for you being on stage that day in Montréal?
Matana Roberts : Well, until you asked this question I didn’t realize that March 8 was international women’s day. That’s very interesting! But overall Montreal is one of my favorite cities in the world. It was my home for a time, it has given me special things, time and time again that has allowed me to think about my own creative ethos, and just my place in the world as a human. It is one of the few cities in the world that when I visit, I feel like I am at home again, so I love playing Montreal. I love coming to Canada. and I hope it will remain that way for many years to come.
PAN M 360 : Thank you so much for your answers, Matana!Matana Roberts : Thank you very much for the wonderful questions, all the best to you!
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