MUTEK 2024 | Marie Davidson Puts All The Pieces Together

by Alain Brunet

Marie Davidson had disappeared from my radar during COVID, shortly after the release of her last studio recording and associated show, Renegade Breakdown, on the Ninja Tune label. At the time, the pop/rock/French chanson turn seemed a brave and welcome risk, but… I had the feeling that something was missing from this release.

All the elements of her pop culture were already present in her work, but much more tenuous. Then there was the Persona EP in 2021, a sort of dream pop mixed with French pop, Victoria Legrand meets France Gall, with the same impression of an unfinished exercise. Last April, her Bandcamp account provided clues to her current direction: Y.A.A.M. marks a return to her electronic inclinations. So there….

With the excellent show we were treated to on Thursday, we can already conclude that all facets of his art found their ideal place in this hellish set. From what we know of his vast palette, we can say that this integration is top-notch.

Marie Davidson’s edifice is topped by a new floor. The violence of noise, the violent drones, the extremely pronounced chords. The multi-referential dimension of electronics: heavy techno, house, UK garage, jungle, drum’n’bass, breakbeat, you name it. Direct references to French pop culture. The punk, almost gothic attitude, the bursts of distortion, the heavy 4/4. The movements on stage, the choreographed interventions on the machines, the infectious harangues. The sung voice, the spoken voice, the acquired authority.

Belted to her keyboards and machines, Marie heats up the pot with thick, saturated sounds, then takes the microphone for most of the rest of her show. Her songs are for the most part self-reflexive, cathartic in many cases, expressed in a straightforward way that doesn’t exclude poetry in the reflection on oneself, one’s profession as an artist and the world around us. It’s this unique blend that we love. It’s also the performer’s ease on stage and hellish presence, her power of attraction. Very solid!

Photo Credit: Vivien Gaumand

Publicité panam

Electronic / Techno

MUTEK 2024 – Piezo Dresses Up Sounds

by Sandra Gasana

For my first time covering a MUTEK event, I have to admit that I came away almost surprised at how much I enjoyed the evening. Let me explain: I don’t usually listen to electronic music, and I have even less opportunity to cover this kind of music. After the first few minutes, during which I thought the music was a little too loud and that my eardrums wouldn’t last the whole show, I gradually changed my mind as the evening progressed.

Piezo, real name Lucca Mucci, is a DJ, producer and sound artist, originally from Milan but trained in Bristol, England. He has set up his own label, Ansia, through which he also supports the work of like-minded artists. His debut album, Perdu, was released by Hundebiss Records. Last night, Piezo managed to get the crowd going, even if they didn’t show it at first, still a little embarrassed. He spent his time turning knobs on one, then two, then three consoles. The last one looked like a keyboard, with a laptop in the middle of it all, under a backdrop of light jets. I was also lucky to be there on a rainless day, having read my colleagues’ reports on the previous rainy days.

I’d describe Piezo’s style as a mix of techno, electro, garage, house at times, with synthetic sounds sprinkled throughout. You get the impression of having one main sound or rhythm, to which Piezo adds one layer at a time, and texture, as if we were dressing it up as we go along. And at certain moments, we would reach a paroxysm, during which the DJ would let loose completely, before coming back down quietly, and removing the layers one after the other. This paroxysm is often dramatic, and that’s the beauty of the exercise. Despite the absence of words, it still feels like we’re being told a story musically. And that’s when I stopped taking notes and started dancing, feeling the vibrations that Piezo was trying to convey.

With most of the audience dressed in black, all generations were represented. From the young, slightly drunk university student in the middle of initiation week, to the preppy 60-something with the colorful bag, the blue-haired girl or the young man with a shirt with Christ on it, everyone seemed to get their money’s worth.

The artist in me was trying to figure out which button was responsible for which sound, but from where I was, it wasn’t easy to see. The other interesting thing about this style of music is that you don’t always know when one song ends and the next begins. Maybe that’s the fun of it, because it changes all the codes of “music” by giving you carte blanche to do whatever the DJ wants.

It all felt like we were in a futuristic universe, with a mix of the artist’s signature fast percussive rhythms and unexpected melodic twists. All in all, it was a pretty good initiation into this new world for me. I’m almost looking forward to Sunday, when I’ll be covering Mutek’s Piknik Electronik special. More on that later.

Photo Credit: Vivien Gaumand

Electronic

MUTEK: Expérience 6

by Jacob Langlois-Pelletier

Tous les jours dès 17h, la scène extérieure gratuite accompagne les Montréalais·es et les touristes sous le signe de la fête, de l’éclectisme et de la rencontre des styles musicaux sur l’esplanade Tranquille. À noter que plusieurs surprises seront dévoilées cet été pour un plaisir augmenté en temps et dans l’espace.

Every day from 5 p.m., the free outdoor stage on the Tranquille esplanade accompanies Montrealers and tourists alike in a festive, eclectic mix of musical styles. A number of surprises will be unveiled this summer, for added pleasure in time and space.

Ribambel CA/QC | Persuasion CA/QC | Flabbergast CA/QC | Virginia DE/PT

CET ÉVÉNEMENT EST GRATUIT

Ce contenu provient de MUTEK et est adapté par PAN M 360.

Electronic

MUTEK: Expérience 5

by Jacob Langlois-Pelletier

CET ÉVÉNEMENT EST GRATUIT

Ce contenu provient de MUTEK et est adapté par PAN M 360.

Electronic

MUTEK: Expérience 4

by Jacob Langlois-Pelletier

CET ÉVÉNEMENT EST GRATUIT

Ce contenu provient de MUTEK et est adapté par PAN M 360.

Électronique

MUTEK: Expérience 3

by Jacob Langlois-Pelletier

BLK MTR PA/QC | Arc & Texture CA | Piezo IT | Marie Davidson CA/QC | Steffi NL/PT

CET ÉVÉNEMENT EST GRATUIT

Ce contenu provient de MUTEK et est adapté par PAN M 360.

Electronic / House

MUTEK 2024 | Jordan GCZ, Eclecticism Under the Rain at Esplanade tranquille

by Salima Bouaraour

The PAN M 360 team is criss-crossing the entire MUTEK 2024 program, observing as many artists as possible during this 25th edition of its Montreal version. Follow our experts right up to Sunday evening, as no other MUTEK media coverage promises to be this extensive!

How to sum up Jordan GCZ observed under the rain at the Esplanade tranquille in this Experience 1? Eclectic sound compositions. Bold approach. Spontaneity. Jordan Czamanski gave us a performance full of experimentation. Served up live, slow, driving rhythms, binary and repetitive, with electro house accents. Finally dry at the dawn of MUTEK 224, the audience gathered at the front of the stage to start waddling. The Torontonian by adoption wove a progression to prepare for the end of the program. As the crowd swayed, he gradually ramped up the BPM and introduced a multitude of Afro-Latin-sounding sonorities and copper notes linked to the warmth of analog synthesizers. As a DJ with the electronic duo Juju & Jordash and the band Magic Mountain High, the producer drew on his multiple experiences to energize the Esplanade Tranquille.

Photo credit: Frédérique Ménard-Aubin

Publicité panam

MUTEK 2023 | Expérience 5: Sara Berts, Sheenah Koh, OBUXUM, ROSINA

by Théo Reinhardt

MUTEK Montréal 2023 and PAN M 360, a combination that makes perfect sense! That’s why our team is focusing on it this week. Fans of cutting-edge electronic music and digital creation are in Montreal this week, so follow our team’s vibrant coverage through Sunday!

Photos credits : Bruno Aiello Destombes

Sara Berts

Sara Berts is a designer of parallel worlds. I arrived slightly after the start of her performance, and from the first sounds I heard as I left Saint-Laurent station, I felt gently transported elsewhere.

The Italian composer and sound artist uses round, smooth tones and others that clatter a little like a marimba, as well as recordings of wave sounds, crickets and other nocturnal noises, all in a very elemental way. It’s a real treat for the ears. Often, while the low melodies move slowly, other, higher-pitched sounds spin much faster: arpeggiated chords, little synthesized soap bubbles, electronic chirps… The compositions are layered, from underground to ground, from ground to clouds, from clouds to atmosphere.

In this way, Berts creates sonic spaces that strangely resemble living worlds, rich and ripe for the act of contemplation. Calm, strangely wild worlds, harmonious all the same. “A conversation between natural ecosystems and synthesizers,” explains the artist’s page on the MUTEK website.

It’s a sound very reminiscent of the crazy, tribal electro flavors The Knife advanced on their album Shaking the Habitual, only more relaxed. The same world, perhaps, but on a different continent, in a different era, under different skies, with different creatures. Just as enchanting.

Sheenah Ko

“I’m not a DJ,” says Sheenah Ko before beginning her 100% improvised performance. “The energy I’m going to get from you, I’m going to send back to you”. A spontaneous set, then.

It begins with a slow percussion loop and a buzzing bass. The artist quickly darkens the sound, using an unusual scale. It doesn’t take her long to start singing some reverb-drenched semblance of lyrics. After gradual changes in effects, polyrhythmic interplay, heavier bass stabs and intensified vocals, we’re in strangely celestial territory. One wonders where the Chinese-Irish musician might go next. She, too, probably.

The percussion is then buried, and the overall pace slows, for a new section. New, angry, metallic percussion sounds, accelerated tempo, luminous chord progressions that swell like waves, adding a touch of clarity and hope to the atmosphere. Fifteen minutes later, a whirring bass and club rhythm take over, while arpeggiated chords of varying intensity sail overhead, their timbre mostly reminiscent of the ’80s, an aesthetic that the artist often uses in her work.

The whole thing ends with a very cinematic musical brightening, a general zoom-out wide shot… on the synthesizer, followed by a panning movement towards the sky… also on the synthesizer. Back to the real world. A very fluid performance, certainly the result of rigorous preparation on Sheenah Ko’s part, as well as impressive mastery of her sonic arsenal. Above all, a satisfying glimpse into her atypical creativity.

OBUXUM

OBUXUM’s sounds are varied. We go from what might be a hip-hop sample to drums and sticks, to retro cyberpunk electro, to an abstract industrial groove, and lots more of these sounds that don’t seem congruent at all. All the same, and despite the abrupt transitions, there’s a narrative sense to the experience. We feel that a story is being built, that each little piece will eventually fit into the order of the others.

Through the confusing rhythms, the 90-degree turns, and the generally kaleidoscopic nature of its approach, OBUXUM is perhaps making an anthological work, a somewhat random raking over different eras of musical history. What she presents is a mosaic of creative samples from the four corners of the world and the mind, a great exercise in variety, in historical sonic bricolage that an hour can barely contain… or something like that. A towering work surely hides behind this music, and it’s not hard to appreciate.

ROSINA

It may be said of Rosina that they are not “people-pleasers”. Yet let’s look at their demands: a world where anyone can love the person they like, a world where people have their basic needs met, a world where people can feel joy. Wouldn’t these things make people happy?

The ROSINA trio is led by poet, singer and producer ROSINA, as well as drag performer and multidisciplinary artist Franny Galore-Wngz, with producer Murr at the DJ station. Eccentric personalities, the two pretend to be English during their performance, adopting the accent and everything. This is just a glimpse of the mischievousness that radiates from these two people.

The members of ROSINA like to play their music at dusk. A symbolic reminder of their mantra: that nothing lasts forever, that everything is ephemeral, both joy and suffering. “We’re tired. We don’t want to be mad all the f****** time.”, says ROSINA (the artist). In the face of adversity, these weeds that grow in the cracks of hope decide to turn towards love, towards others, to embrace the sensual weirdness of our outer and inner worlds. A reconquest of the world through a reconquest of the self, which, as they say, can be scary. All of this with a self-assured, liberated, almost punk attitude, the DIY spirit in full force, against a backdrop of danceable music, embellished by affirmative lyrics like “I want to feel joy”, and mantras that seem to come from a pure, unadulterated train of consciousness. Consciousness that has surely been tested, bent, twisted and scratched by the world, but honest nonetheless.

Maybe not the most coherent, or smooth, or musically impressive performance, but ROSINA’s strength definitely lies in the free-flowing energy. One of the best, rooted in the euphoria, the terror, the flourishing rollercoaster that is queerness, and ultimately provoking great pleasure, and, no doubt, great liberation to whoever needs it.

Electronic

MUTEK : Expérience 5

by Rédaction PAN M 360

Le point de rassemblement en plein air du festival. Accessible, gratuite et teintée de joie, la scène extérieure accueille les Montréalais·es et les touristes sous le signe de la fête, de l’éclectisme et de la rencontre des styles musicaux. Un excellent point d’entrée dans l’univers MUTEK.

The festival’s outdoor gathering point. Accessible, free and full of joy, the outdoor stage welcomes Montrealers and tourists alike under the banner of celebration, eclecticism and the meeting of musical styles. An excellent point of entry into the MUTEK universe.

Sheenah Ko ^CA/QC — Future is Now

Passant son temps entre Montréal et Saguenay, la musicienne Chinoise-Irlandaise Sheenah Ko a eu une dernière année bien occupée, entre le lancement de son nouvel album Future is Now et d’un EP en collaboration avec le musicien Navet Confit, Sheenah Ko X Navet Confit. Loin d’être nouvelle dans la scène musicale canadienne indépendante, elle a joué du synthétiseur pour un grand nombre de projets musicaux dont The Besnard Lakes, Le Couleur et Antoine Corriveau. L’attitude enjouée et positive de Ko se ressent partout dans son projet solo, que ce soit dans les beats très dansants, les visuels colorés ou dans les lignes de synthétiseur et mélodies de voix accrocheuses. Il y a dans sa musique une certaine nostalgie. On sent qu’elle s’inspire du meilleur de la musique pop des années 80s, mais la musique de Ko est également indéniablement unique. Avec sa musique synth-pop sucrée, elle partage son énergie et son optimisme de façon sentie, sincère. Elle travaille en ce moment sur un nouvel album.

Spending her time between Montreal and Saguenay, Chinese-Irish musician Sheenah Ko has had a busy past year, between the launch of her new album Future is Now and a collaborative EP with musician Navet Confit, Sheenah Ko X Navet Confit. Far from being new to the Canadian independent music scene, she has played synthesizer for a number of musical projects, including The Besnard Lakes, Le Couleur and Antoine Corriveau. Ko’s upbeat, positive attitude is evident throughout her solo project, from the danceable beats and colorful visuals to the catchy synth lines and vocal melodies. There’s a certain nostalgia in her music. You can tell she’s inspired by the best of 80s pop, but Ko’s music is also undeniably unique. With her sweet synth-pop music, she shares her energy and optimism in a heartfelt, sincere way. She is currently working on a new album.

Obuxum ^CA — Interconnectedness

OBUXUM est une productrice et beatmaker somalienne basée à Toronto, dont le son luxuriant et caractéristique célèbre la narration. Elle a fait connaître sa présence avec des performances remarquables en festival au Wavelength Festival (Toronto), Kazoo! Fest (Guelph, Ontario), Electric Eclectics (Big Head Valley, Ontario) et Venus Fest (Toronto). En 2018, le magazine NOW l’a classée parmi les « musicien·ne·s électroniques à surveiller ». Récemment, le projet Re-Birth d’OBUXUM a été sélectionné pour le Prix Polaris 2020. Le live set d’OBUXUM se déroule en extérieur comme une occasion d’explorer sa pratique artistique en musique électronique In situ. Elle explore les configurations afrofuturistes de la musique électronique en réaction aux parallèles entre le passé et les environnements post-pandémiques récents. L’examen des paysages sonores par OBUXUM, sur ces outils électroniques « privilégiés », a une histoire profondément ancrée dans les écarts socio-économiques entre le privilège des rêves capitalistes et les réalités des ressources inaccessibles des communautés noires. Dans cet examen visuel et sonore, la juxtaposition des explorations électro d’OBUXUM avec des images d’archives sur les graffitis, la naissance du hip-hop, les innovations électro des musiciens noirs, des Black Panthers et des activistes, et le pillage des magasins, révèle un modèle systémique de batailles mutuellement assurées pour les consommations cosmopolites en matière d’accessibilité, de liberté et de ressources socio-économiques.

OBUXUM is a Toronto-based Somali producer and beatmaker whose lush, distinctive sound celebrates storytelling. She has made her presence known with notable festival performances at Wavelength Festival (Toronto), Kazoo! Fest (Guelph, Ontario), Electric Eclectics (Big Head Valley, Ontario) and Venus Fest (Toronto). In 2018, NOW magazine named her one of the “Electronic Musicians to Watch”. Recently, OBUXUM’s Re-Birth project was shortlisted for the 2020 Polaris Prize. OBUXUM’s live set takes place outdoors as an opportunity to explore her artistic practice in In situ electronic music. It explores Afrofuturist configurations of electronic music in response to parallels between the past and recent post-pandemic environments. OBUXUM’s examination of soundscapes on these “privileged” electronic tools has a history deeply rooted in the socio-economic gaps between the privilege of capitalist dreams and the realities of inaccessible resources in black communities. In this visual and sonic examination, the juxtaposition of OBUXUM’s electro explorations with archival footage of graffiti, the birth of hip-hop, the electro innovations of black musicians, Black Panthers and activists, and the looting of stores, reveals a systemic pattern of mutually assured battles over cosmopolitan consumptions of accessibility, freedom and socio-economic resources.

Sara Berts^IT

La pratique de la compositrice et artiste sonore italienne Sara Berts fait penser à une recherche expérimentale qu’on pourrait faire sur les propriétés sonores d’un monde parallèle. Décrivant sa propre musique comme un « espace d’échange actif entre deux bandes passantes de réalité », il nous est facile d’expériencer ses compositions ainsi. En utilisant plusieurs synthétiseurs (tel que le fameux et envoûtant synthétiseur Buchla) ainsi que des enregistrements de field recording modifiés, la compositrice sculpte sons naturels et textures afin de créer des moments qui sonnent étranges, comme une trame sonore subtile et enveloppante pour imaginer la vie différemment. Berts a gradué en tant qu’ingénieure sonore au SAE Institute, à Milan, et a collaboré avec la Scuola Holden en tant que designer sonore. Elle a travaillé avec plusieurs organisations et festivals tels que le Club2Club Festival, Primavera Sound et Elementi.

The practice of Italian composer and sound artist Sara Berts is reminiscent of experimental research into the sonic properties of a parallel world. Describing her own music as a “space of active exchange between two bandwidths of reality”, it’s easy for us to experience her compositions in this way. Using several synthesizers (such as the famous and bewitching Buchla synthesizer) as well as modified field recordings, the composer sculpts natural sounds and textures to create strange-sounding moments, like a subtle, enveloping soundtrack for imagining life differently. Berts graduated as a sound engineer from the SAE Institute, Milan, and collaborated with Scuola Holden as a sound designer. She has worked with a number of organizations and festivals including Club2Club Festival, Primavera Sound and Elementi.

ROSINA ^CA

ROSINA est né de la misère du monde afin d’évoquer la joie et la bienveillance avec une sensualité affranchie et une approche espiègle. ROSINA cherche à libérer nos esprits dans l’univers et nous reconnecter au divin. ROSINA, ce sont des amoureux·ses des océans, des rivières, des forêts, des paysages naturels et de la technologie, qui honorent nos ancêtres vivants et non vivants, humains et non humains, bien qu’iels soient originaires de la ville.

ROSINA was born out of the misery of the world, to evoke joy and benevolence with an emancipated sensuality and mischievous approach. ROSINA seeks to free our spirits in the universe and reconnect us to the divine. ROSINA are lovers of oceans, rivers, forests, natural landscapes and technology, who honor our living and non-living ancestors, human and non-human, albeit from the city.

Nick León ^US (DJ set)

Marqué par une approche dystopique à la musique de club et inspiré de l’écosystème diversifié de la Floride, le style musical du DJ, producteur et artiste sonore Nick León a évolué audacieusement au fil des années. Son intérêt pour la scène musicale se développe dès son jeune âge, alors qu’il plonge dans l’univers du rap : passion qui le mènera à collaborer avec certains des plus importants rappeurs de la scène underground du sud de la Floride. Musicien autodidacte, León multiplie les explorations et s’intéresse très tôt aux sonorités latines provenant de Porto Rico et de la Colombie pour éventuellement se concentrer sur la création de son propre travail en tant que DJ et producteur. Suivant une période de recherche texturale et de compositions stratifiées, León réalise plusieurs projets, dont le EP Aguacero, produit par le célèbre label mexicain NAAFI. L’album transmet l’anxiété croissante d’une génération grandissant dans une ville menacée par cela même qui en fait la beauté : une invitation à danser malgré la précarité et les catastrophes imminentes provoquées par les changements climatiques.

Marked by a dystopian approach to club music and inspired by Florida’s diverse ecosystem, DJ, producer and sound artist Nick León’s musical style has evolved boldly over the years. His interest in the music scene began at an early age, when he immersed himself in the world of rap: a passion that led him to collaborate with some of the most important rappers on the South Florida underground scene. A self-taught musician, León’s early interest in Latin sounds from Puerto Rico and Colombia led him to focus on creating his own work as a DJ and producer.
Following a period of textural research and layered compositions, León completed several projects, including the Aguacero EP, produced by the renowned Mexican label NAAFI. The album conveys the growing anxiety of a generation growing up in a city threatened by the very thing that makes it beautiful: an invitation to dance despite the precariousness and impending catastrophes caused by climate change.

CET ÉVÈNEMENT EST GRATUIT!

Ce contenu provient de MUTEK et est adapté par PAN M 360.

Ambient / Deep House / Electronic / Experimental / Contemporary

MUTEK : Expérience 4 – Anatohl, StMichel, Hellgrammite, AAAA et Eris Drew

by Rédaction PAN M 360

Anatohl est le nom d’artiste du producteur de musique électronique, guitariste et DJ français Anatole Michaud. Désormais basé à Montréal, il est aussi co-gérant de Kizi Garden Records.

Anatohl is the stage name of French electronic music producer, guitarist and DJ Anatole Michaud. Now based in Montréal, he also co-manages Kizi Garden Records

DANCE PETROL RECORDS · Anatohl – Low Profile EP

StMichel fait son retour sur scène, cette fois accompagné de synthétiseurs, pour présenter une version live de son album Données Sensibles. Au cours de cette performance, il explore les diverses nuances de sa musique électronique, envoûtant le public avec une techno magnétique, des textures synthétiques et des sonorités house champ-gauche.

Accompanied by an array of synths, StMichel returns to the limelight to present a live version of his acclaimed album Données Sensibles. Throughout this performance, he’ll explore the many nuances of his signature brand of electronic music, mesmerizing the audience with enthralling Techno, synthetic textures and leftfield House sounds.

StMichel · Erreur 2021 – 044 – 01 Live -Extrait

Hellgrammite travaille sur sa musique depuis plus de cinq ans, développant un son unique en utilisant des instruments digitaux et analogues tels que des synthétiseurs, des samplers et des instruments électroniques modifiés.

Hellgrammite have been working on music for over five years, developing their unique sound using both digital and analog hardware such as synthesizers, samplers and circuit-bent electronics.

hellgrammite · (TEL06) HELLGBTQ

GRATUIT!

Ce contenu provient de MUTEK et est adapté par PAN M 360.

MUTEK 2023 | Experience 2 : Airhaert, Dawn To Dawn, The Mole

by Théo Reinhardt

Photo credits : Frédérique Ménard-Aubin

Airhaert

Airhaert doesn’t so much crowd the stage as she fills it, like a cloud of smoke. Her music, like her, finds its source in the depths of the earth, and seeks to bring us back to it. Between trip-hop rhythms, ambient techno and draped vocal passages reminiscent of Grouper, the meditative, spiritual aspect of the project is heard and felt. The voice is used as a stream of celestial energy flowing through the otherwise dark space of the music. I imagine ghosts of a phrase, a thought, long forgotten in the depths of being, deconstructed perhaps in form, but having acquired a whole new meaning. These voices are texture, they are a stream, and it’s tempting to let them enter us for how they might affect our currents, hot and cold, uncertain and obsessed. Because, after all, water is a sure current that always finds its way.

Airhaert’s recent album, I. I. (for Intuitive Intelligence) is an exploration of the depths of Being, a hypnotic, meditative, grounded and introspective experience that seeks to explore the notion of therapeutic music. On stage, the album seems to take a few spontaneous turns, no doubt at the whim of the moment and the lure of the buttons, wheels and indicators that surround the artist. Despite the improvisation and the few harder-cut transitions it brings, we can still lose ourselves in the music, or… in ourselves!

Dawn to Dawn

Dawn to Dawn is a trio made up of Montreal singer Tess Roby, along with Patrick Lee and Adam Ohr. Together, they possess that twilight electro sound which caresses the ears and seems perfect for imagining a high-speed nocturnal stroll through a futuristic, neon-lit cityscape.

Borrowing from pop structures, their style is clean and effective. The synths are round and glistening, like clouds at dusk, while the bass and percussion, with their techno and breakbeat accents, are predominant. Tess Roby’s voice is soaring, dancing lightly in the fine light of the landscape they conjure.

Towards the middle of the show, the songs rise in energy and tempo. Roby’s voice, performing from the front of the stage, soars with the music. This trio may not be the flashiest, but sometimes we like having the lights dimmed. Dawn to Dawn’s music is like that: warm, light and appealing, like distant lights on a summer’s night. The ones that remind us we’re not alone.

The Mole

After more than 20 years in Berlin, The Mole, aka Colin de La Plante, is back in Canada.

The man who made his name in Montreal as a DJ in the 2000s offers a sample-heavy proposal. Cut-up vocals, excerpts from instrumental breaks, bits of lyrics, all these flow together in a sound space built block by block and with great care. His “Go Wiggle!” project, which he presents on the Esplanade Tranquille stage, is based on lyrics from Parliament-Funkadelic.

In his performance, Colin de La Plante weaves together the different parts of his musical presentation with fades. Rhythms enter while others leave, a new melody overtakes the previous one, and, gradually, new sounds are integrated, to the point where we no longer remember what was coming out of the loudspeakers a few minutes earlier.

Working partly with vinyl, de La Plante is definitely searching for a retro aesthetic. The proposition remains fairly conventional and doesn’t get too experimental. Instead, each piece unfolds slowly and meticulously, revealing a sensitivity as well as an instinct for progression on the artist’s part, who leaves us time to notice the changes, fluctuations and disruptions he engenders. All in all, this becomes a show that has a good groove, and which manages to be pleasantly varied and spellbinding.

Breakbeat / Electronic / House

MUTEK : Expérience 3 – Skesa, Husa & Zeyada, Lowfish et Mika Oki b2b upsammy

by Rédaction PAN M 360

Des airs de house et de techno décontractés avec des textures organiques et des percussions complexes, c’est la recette de musique dance spéciale du producteur Montréalais Skesa. Cérébral, technique, avec des mélodies abstraites et des beats groovy, les rythmes polis et sophistiqués de Skesa sont hautement addictifs.

Laid back house and techno vibes with organic samples and intricate percussions, that’s Montreal-based Skesa‘s special blend of dance music. Cerebral, technical, with abstract melodies and groovy beats, Skesa’s rhythms and anthem-like general feel are addictive.

C’est sur la scène extérieure de MUTEK que Husa & Zeyada défendront les pièces qui composent leur album Long Way Home. Bien que ses racines musicales soient ancrées dans la house et la techno, Adam Husa transcende les barrières liées au genre en mettant l’accent sur des grooves inquiétants et des mélodies profondes ; un rythme minimaliste de percussions serrées avec une ligne de basse légère qui s’accorde parfaitement avec les voix superposées de Zeyada.

Husa & Zeyada will champion tracks from their album Long Way Home on MUTEK’s outdoor scene. Though he traces his musical roots back to House and Techno, Adam Husa transcends genre boundaries by focusing on ominous grooves and deep melodies, minimalist rhythms of tight percussion with delicate basslines flawlessly tuned to Zeyada’s layered vocals.

Le nouveau set live de Lowfish, présenté en première mondiale à MUTEK, combine des percussions 808 implacables aux harmonies de synthétiseurs caractéristiques du producteur canadien et à des échantillons fortement manipulés. Parfois sombres, souvent mélodiques et accrocheurs, les morceaux de Lowfish s’efforcent toujours d’être intemporels et de qualité.

Premiering at this year’s MUTEK, Lowfish’s latest live performance combines punishing 808 drums with the Canadian producer’s signature synth harmonies and highly-manipulated samples. At times moody, often melodic and catchy, Lowfish’s tracks forever strive to be refined and timeless.

Les DJ, productrices et artistes multidisciplinaires Mika Oki et upsammy se réunissent pour la première fois pour un dialogue rythmique qui promet d’être percutant et irrésistible !

DJs, producers and multidisciplinary artists Mika Oki and upsammy join forces for the first time in a rhythmic dialogue that promises to be powerful and irresistible!

GRATUIT!

Ce contenu provient de MUTEK et est adapté par PAN M 360.