Active as a DJ since the ’90s, founder of the labels BPitch Control (Modeselektor, Sascha Funk, early Paul Kalkbrenner) and UFO Inc, godmother of a techno festival in the north of France, seasoned producer… you guessed it, Germany’s Ellen Allien is a matron. In spite of her success, she retains her authenticity, and you can hear it musically. The 50-year-old is capable of electrifying crowds at Igloofest and Piknic Électronik as much as she was able to move the floor at La fin du vinyle, a record store on Saint-Laurent Blvd., during a Vinylism tour a few years ago. Accustomed to the album format – she has eight on her counter, which is quite rare in the techno world – the producer has mastered the development of narrativity. Her voice, on the first two tracks “Hello Planet Earth” and “In Music I Trust” (electronic vocals) accompanies our introduction: experimental, it will be. “True Romantics” unveils a kick to wake the dead. If the first third of “Traum” looks towards psy (it gallops), its evolution leads us towards more ethereal sounds and then back to an acid line, creating a sound universe at the crossroads. The bass line of “Walking in the Dark” takes us back to EBM, Berlin of the 1980s, and D.A.F. Same for the little jewel “Confusion”. In short, Allien reminds us that we miss the dance floor, the darkness, and the smell of sweat terribly. Easily moving from one genre to another, the veteran techno player masters the codes without falling into clichés.
Latest 360 Content
Interview Classical/classique
Trio Garibaldi: The Album In Faded Sepia | Viola, Piano, and Clarinet in Service of New Creation
By Alain Brunet
Concert review expérimental / contemporain/Experimental / Contemporary
Semaine du Neuf | Nous perçons les oreilles: Surrendering Body and Mind to the Music
By Alexandre Villemaire
Interview expérimental / contemporain
5ilience | Devinim, When Sounds Move Through The Reeds
By Jeremy Fortin
Interview Africa/Caribbean
Caribbean Love: Richy Jay, Between Heritage and Tropical Rhythms
By Sandra Gasana
Concert review musique de film
The magic of Miyazaki comes to life with the FILMharmonic Orchestra
By Frédéric Cardin
Interview Classical/classique
Caprice au 9e | Telemann and The Traveling Musicians of the Baroque Era
By Alain Brunet
Column
Airat Ichmouratov will compose Alice in Wonderland for Montreal’s Grands Ballets canadiens
By Frédéric Cardin
Concert review expérimental / contemporain/Multidisciplinaire
Semaine du Neuf | Lovemusic: A Clash of Bodies and Sounds
By Jeremy Fortin
Album review Electronic/Pop/Classical/classique/Jazz 2026
The Setting – The Setting
By Stephan Boissonneault
Concert review Pop/musique de film/pop symphonique
Symphonic Tribute to Daft Punk: Effective Fusion, Mostly
By Frédéric Cardin
Interview Blues/Americana/classic rock/Rock/southern rock/southern soul
The Sheepdogs, or How to Become a Classic “Outside the Storm”
By Alain Brunet
Interview Classical/classique/Experimental / Contemporary/expérimental / contemporain
Semaine du Neuf | Collective Improv Night with No Hay Banda, Ana Maria Romano, and Limules
By Frédéric Cardin
Concert review Classical/classique
Arion Baroque Orchestra: Il pianto di Maria: Tears of Joy
By Alexandre Villemaire
Concert review Experimental/jeunesse
Semaine du Neuf | Sound understanding for children under 3 years… and us
By Vitta Morales
Concert review expérimental / contemporain/Indigenous peoples
Semaine du Neuf | Sxelxéles te tl’etla’axel – Design for Inviting, the Power of Words… and of Sounds?
By Michel Labrecque
Concert review classique/expérimental / contemporain/Classical























