MUTEK : EXPÉRIENCE 3 à l’esplanade Tranquille

by Rédaction PAN M 360

Expérience investit l’esplanade Tranquille, au cœur de Montréal, tous les jours dès 17h avec une programmation gratuite en plein air.
Pensée comme un lieu de passage et de rassemblement, la série propose un large éventail de performances musicales, entre découvertes locales et artistes internationaux.
Elle reflète l’ouverture esthétique du festival et favorise une rencontre naturelle entre les publics, les styles et les rythmes.

MUTEK’s Expérience series takes over l’esplanade Tranquille with free open-air performances every day from 5PM.
Conceived as a gathering place, the series offers a wide range of musical performances, from local discoveries to international artists.
It reflects the festival’s aesthetic openness and encourages a natural meeting point between audiences, styles and rhythms.

Jade Talemann – Cash For Teeth

Jade Telemann est le projet live de musique électronique de l’artiste multidisciplinaire montréalaise Laurie Sévigny-Couture. Né dans le quartier Parc-Extension en 2017, le projet a longtemps évolué dans l’ombre des chambres à coucher, des fêtes d’anniversaire et des pistes de danse nocturnes, avant de se cristalliser en un univers sonore singulier, entre techno minimale, ambient et expérimentations vocales. Ancienne chanteuse de groupes rock et auteure de chansons pop, c’est à Berlin en 2018 que Sévigny-Couture découvre la puissance sensorielle des clubs techno. Marquée par cette révélation, elle revient à Montréal avec une nouvelle envie de créer. Jade Telemann devient un laboratoire scénique où les synthétiseurs analogiques, les voix trafiquées et l’ironie cohabitent avec un sens du rythme brut et évocateur.

Jade Telemann is the live electronic project of Montréal artist Laurie Sévigny-Couture—an alias born in Parc-Extension in 2017 and nurtured quietly in bedrooms, birthday parties, and the occasional after-hours floor. Rooted in ambient, experimental electronics and minimal techno, Telemann’s sound merges brooding rhythms with spoken word textures, melancholic melodies, and an undercurrent of wry theatricality. A longtime performer across genres—from fronting rock bands to writing intimate pop—Sévigny-Couture found a new creative axis in Berlin in 2018, drawn to the euphoric disorientation of hard techno clubs. That memory stayed dormant as she returned to Montréal, slowly shaping Jade Telemann as a vehicle for performative electronic storytelling. Encouraged by friends, she began DJing and producing, letting the persona evolve through sparse yet meaningful appearances.

SXXN

SXXN est le projet électronique de l’artiste canado-libanaise Alex Raja Ven, dont le travail interroge les notions de mémoire, de présence et de perception à travers le son. À partir d’archives personnelles comme des enregistrements de terrain, des textures électroniques et des boucles sur bande, elle compose des paysages sonores introspectifs influencés par l’ambient, la techno minimale et la musique sur bande. Ses œuvres, souvent étendues, explorent la transformation du son par la répétition, l’érosion et le retour altéré. En 2025, elle crée une pièce spatialisée pour haut-parleurs, micro et électronique lors d’une résidence à Music Gallery (Toronto). En 2023, elle collabore à Parallel 03, un instrument web imaginé par Raven Chacon et John Dieterich pour Vancouver New Music.

SXXN is the electronic project of Lebanese-Canadian artist Alex Raja Ven, whose work moves through the blurry territories of memory, presence, and perception. Working with personal sound archives—field recordings, tape loops, electronic textures—Ven crafts atmospheric and emotionally resonant compositions shaped by ambient, minimal techno, and experimental tape music. Her pieces unfold slowly, often durational and spatialized, revealing sonic transformations through repetition, decay, and return. In 2025, she developed a live spatial audio work for loudspeakers, microphone, and electronics during a residency at Toronto’s Music Gallery. In 2023, she collaborated on Parallel 03, a web-based instrument by Raven Chacon and John Dieterich for Vancouver New Music.

Techno Para Dos – Amor

Techno Para Dos est le pseudonyme de Raúl Villamil, producteur, artiste sonore et compositeur basé à Mexico, dont le travail oscille entre la charge émotionnelle de la musique ambient et la physicalité brute des sonorités club expérimentales. Ses compositions se déploient comme des mémoires sonores : intimes, brutes, souvent traversées par la mémoire et des résonances politiques. Dès l’enfance, Villamil perçoit le son comme un outil de préservation et de narration. À seulement quatre ans, il enregistre l’environnement de sa maison sur des cassettes, amorçant une relation précoce avec l’écoute comme geste de mémoire. Élevé au son de la musique de protestation latino-américaine, fasciné par la distorsion et le bruit, il se tourne vers la production numérique à la suite d’un accident qui l’empêche de continuer la guitare à l’adolescence — inaugurant une pratique marquée par le bricolage, la débrouille et une nécessité affective.

Techno para dos is the alias of Raúl Villamil, a Mexico City-based producer, sound artist, and composer whose work straddles the emotional charge of ambient music and the physicality of experimental club sounds. His compositions unfold like sonic memoirs—intimate, raw, and often haunted by memory and political undertones. From early childhood, Villamil was drawn to sound as a medium of preservation and storytelling, recording his home environment on cassette tapes from the age of four. Raised on protest music and enamored with distortion and noise, he found his way to digital production after a hand injury interrupted his teenage guitar practice—marking the beginning of a relationship with technology defined by DIY ethos and emotional necessity.

DELAVELOUR – Paranoid Fantasies

Sous l’alias DELAVELOUR, le projet alter ego de François Lebaron, façonne depuis plus de vingt ans une vision singulière de la musique électronique, entre deep house texturée, techno minimale et grooves hypnotiques. Figure active de la scène montréalaise depuis les années 90, il a contribué à structurer le paysage local en tant que DJ, promoteur et cofondateur de Trigger Recording, le tout premier label électronique indépendant canadien sous licence avec Warner Music. Sa carrière est jalonnée de projets qui ont renforcé le dialogue entre les scènes nord-américaines et européennes.

As DELAVELOUR, Montréal-based artist François Lebaron has spent over two decades developing a refined take on electronic music—blending textured deep house, minimal techno, and hypnotic rhythms. A formative presence in Montréal’s electronic scene since the 1990s, he helped shape the local ecosystem as a DJ, event producer, and co-founder of Trigger Recording—Canada’s first independent electronic label to sign with Warner Music. His work has long served as a bridge between North American and European scenes.

Cleo Leigh – Romance by Design

Figure montante de la scène underground canadienne, Cleo Leigh propose des performances live sculptées à partir de synthétiseurs modulaires et de machines, révélant une narration sonore aussi intime qu’intense. Active depuis 2018 dans la vie nocturne de St. John’s, elle cofonde les clubs LAVI SEKS et STÄMPT, ainsi que la série d’événements Selenium—des projets moteurs dans l’essor d’une scène électronique locale effervescente. Son langage musical, nourri d’expérimentations analogiques et d’un goût pour les textures minimales, puise à la fois dans l’énergie brute de la piste de danse et la subtilité des nappes sonores.

A rising voice in Canada’s underground, Cleo Leigh crafts immersive live performances using modular synthesis and hardware, channeling an emotive and distinctly personal narrative. Rooted in the remote yet vibrant scenes of St. John’s, Cleo Leigh first made her mark by co-founding key nightlife institutions like LAVI SEKS, STÄMPT, and the Selenium event series—laying groundwork for a thriving electronic community in Newfoundland. Her sound is informed by years of crate-digging, analog experimentation, and a love for sonic tension, where minimalism meets rave energy.

DJ set surprise

CE SPECTACLE EST GRATUIT!

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

DJ set / Electronic / Progressive House

MUTEK : EXPÉRIENCE 2 à l’esplanade Tranquille

by Rédaction PAN M 360

Lio – Outsider, from Within

Lio est animé par une esthétique hypnotique qui traverse aussi bien ses sets épurés que son travail d’ingénierie acoustique. Cofondateur de Hypnotic Ltd, il explore une approche minimale et ancrée dans le jazz, toujours guidée par l’écoute profonde. Formé en ingénierie du son à SAE Paris, il a façonné les environnements sonores de nombreux clubs et studios de Beyrouth en tant que consultant acoustique de référence. Sous divers alias (Spoken, Monosapien, Dubwiser), il navigue entre les genres, sans jamais perdre le fil de la transe. Aujourd’hui basé à Montréal, il poursuit son chemin aux côtés de Duchesse en organisant des événements intimistes qui enrichissent discrètement mais sûrement la scène locale.

Lio is a Lebanese-born sound designer, producer, and DJ whose hypnotic sensibility runs through everything he touches—from stripped-back club sets to acoustic design. Since launching his first label, Hypnotic Instincts, in 2013, and later co-founding Hypnotic Ltd, he’s pursued a fluid, jazz-leaning minimalism rooted in deep listening. Trained in audio engineering at SAE Paris, Lio’s technical precision extends beyond music. As an acoustic consultant, he helped shape the sonic environments of Beirut’s key clubs and studios, becoming a trusted behind-the-scenes force in the city’s nightlife. In parallel, his artistic output spans aliases like Spoken, Monosapien, and Dubwiser—each a channel for his evolving relationship with rhythm and repetition. Now based in Montréal, he continues to host intimate gatherings with his partner Duchesse, offering quiet but impactful contributions to the local scene.

Garden of Magic

Basée à Toronto, Daria Morgacheva, alias Dora, façonne un univers sonore singulier avec Garden of Magic, son projet solo où ses racines en piano classique et jazz s’entrelacent à des textures électroniques vibrantes. Ses performances, entre grooves techno et nappes atmosphériques, se vivent comme des instants suspendus, guidés par des improvisations au clavier et du sampling en direct qui capturent l’instant présent.

Toronto-based artist Daria Morgacheva, known on stage as Dora, channels her classical and jazz training into Garden of Magic, a solo electronic project where lush piano improvisations collide with deep rhythmic textures. Navigating a rich terrain between techno pulses and ambient expanses, Dora’s performances unfold as immersive rituals—moments of collective resonance crafted through instinctive live sampling and improvisation.

Bergsonist – 3alam-building: Intuitional Psychoanalytic Reveries

Bergsonist est le projet de l’artiste et compositrice Selwa Abd, née au Maroc et basée à New York, dont la pratique interdisciplinaire englobe son, vidéo et recherche en design. S’inspirant du minimalisme, de la musique concrète et des traditions électroacoustiques, elle explore intuitivement les croisements entre technologie, identité fragmentée et futurs spéculatifs.

Bergsonist is the alias of Moroccan-born, New York-based artist and composer Selwa Abd, whose work spans sound, video, and design research. With an intuitive approach rooted in minimalism, musique concrète, and electroacoustic traditions, she explores the intersections of technology, fragmented identity, and speculative futures.

Cousin

Cousin est un artiste dont la musique explore les intersections entre dub techno, house progressive et trance, avec des influences ponctuelles de breaks et de drum & bass. Proche du label NAFF, il partage une esthétique précise et immersive, marquée par des textures analogiques et un sens profond du rythme.

Cousin is an artist whose work bridges dub techno, progressive house, and trance with subtle nods to breaks and drum & bass. Closely aligned with NAFF label, he shares a detailed, atmospheric approach grounded in deep rhythm and analog warmth.

Al Wootton (DJ Set)

Al Wootton est un producteur et DJ originaire du sud de Londres, dont l’affinité profonde pour le rythme tisse un lien subtil entre dub-techno, psychédélisme percussif et bass music expérimentale. Connu dans un premier temps sous le nom de Deadboy, il s’impose à la fin des années 2000 avec des morceaux de garage brut et émotionnel, capturant l’énergie insatiable de l’underground britannique. Plongé dès son plus jeune âge dans la culture du vinyle et la scène club londonienne, Wootton assimile un large éventail de sons, du 2-step et du UK garage au post-punk et à l’ambient, qu’il distille progressivement en une forme musicale à la fois méditative et viscérale. Sa musique puise autant dans la physicalité des dancefloors que dans des espaces introspectifs, presque rituels.

Al Wootton is a South London producer and DJ whose deep-rooted affinity for rhythm threads through dub-techno, percussive psychedelia, and experimental bass music. Initially known as Deadboy, he rose to prominence in the late 2000s with raw, emotive garage tracks that captured the restless energy of the UK underground. Growing up immersed in London’s vinyl culture and the city’s ever-evolving club scene, Wootton absorbed a vast palette of sounds—from 2-step and UK garage to post-punk and ambient—gradually distilling these influences into a form that is both meditative and visceral. His music often draws from the physicality of dancefloors while reaching toward introspective, almost ritualistic spaces.

CE SPECTACLE EST GRATUIT!

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

Electronic / House / percussions

MUTEK : EXPÉRIENCE 1 à l’esplanade Tranquille

by Rédaction PAN M 360

Valentina Magaletti

Basée à Londres, l’artiste italienne, Valentina Magaletti, est une batteuse, compositrice et multi-instrumentiste dont l’approche inventive de la percussion brouille les frontières entre son, texture et matière. Alliant techniques traditionnelles et pratiques expérimentales, elle compose des œuvres tactiles et évolutives où le rythme devient un langage narratif. Sa pratique oscille entre jeu structuré et improvisation libre, utilisant micros de contact, objets trouvés et instruments atypiques pour révéler les qualités sonores cachées de la matière. Qu’elle joue sur une batterie en céramique ou construise des paysages rythmiques denses à partir de dispositifs modulaires, Magaletti conçoit la percussion comme un terrain d’exploration émotionnelle et intuitive.

Based in London, Valentina Magaletti is an Italian drummer, composer, and multi-instrumentalist whose inventive approach to percussion blurs the lines between sound, texture, and material. Embracing both traditional techniques and experimental practices, she creates tactile, evolving compositions that turn rhythm into a form of storytelling. Her practice draws equally from structured playing and free improvisation, often using contact microphones, found objects, and unconventional instruments to reveal hidden sonic qualities. Whether performing delicate pieces on a ceramic drum kit or building dense rhythmic worlds through modular setups, Magaletti treats percussion as a medium for narrative and emotional exploration.

Stephen Beaupré – Return

Figure incontournable de la scène électronique montréalaise, Stephen Beaupré façonne depuis plus de vingt ans une micro-house vibrante et singulière. Entre samples vocaux ciselés, rythmiques imprévisibles et synthés luxuriants, sa musique navigue entre euphorie, nostalgie et curiosité sonore.
Révélé comme moitié du duo Crackhaus avec Deadbeat (Scott Monteith), il se fait remarquer en solo avec Foe Destroyer en 2006, puis signe sur des labels de référence comme Circus Company, Wagon Repair ou Perlon. En 2010, il élargit sa démarche avec Gemmiform, projet audiovisuel immersif avec Nancy Belzile, Patrick Bernatchez et David Fafard.

A vital figure in Montréal’s electronic underground, Stephen Beaupré has spent over two decades crafting micro-house and techno with a playful yet emotional edge. Known for his intricate vocal sampling, syncopated grooves, and lush synth work, his music radiates joy, nostalgia, and experimental spirit.
Beaupré first emerged as one half of Crackhaus, the beloved duo formed with Deadbeat (Scott Monteith), before releasing his acclaimed solo debut Foe Destroyer in 2006. Since then, he’s released on labels like Circus Company, Wagon Repair, and Perlon. In 2010, he expanded his vision through Gemmiform, an ambitious audiovisual collaboration with visual artists Nancy Belzile, Patrick Bernatchez, and David Fafard.

DJ set surprise

CE SPECTACLE EST GRATUIT!

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

Electronic

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.