Alt-Pop / Pop-Rock

Good Morning à la Sala Rossa

by Rédaction PAN M 360

Good Morning sont des briseurs de règles. Pas de façon sexy et flamboyante, mais plutôt de façon décontractée et résignée. Des briseurs de règles accidentels et fortuits. Ils accordent leurs guitares bizarrement et font des albums plus courts que les EP de certains ; leur carrière a progressé par étapes, certaines années apportant une abondance de musique et d’autres rien du tout. Ils sont d’abord des amis, puis des membres du groupe et enfin des hommes d’affaires, souvent en dépit de leur fonction et souvent à leurs propres frais. Ils choisissent les mauvais singles et insistent pour tout faire eux-mêmes, des affiches aux produits dérivés en passant par les couvertures d’album et les vidéos musicales, souvent avec beaucoup de soin. Tout cela n’enfreint pas les règles morales et sociales que les rock stars aiment tant respecter – bien sûr, les Good Morning ne sont absolument pas des rock stars – mais c’est le genre de choses que l’on n’est pas “censé” faire si l’on veut avoir un quelconque succès ou une certaine stabilité dans la musique ; pourtant, chaque fois que les machinations de l’industrie ont fait un zig, les Good Morning ont fait un zag.

Good Morning are rulebreakers. Not in a sexy, flamboyant way — more in a casual, resigned kind of way. Accidental and incidental rulebreakers. They tune their guitars weirdly and make albums shorter than some peoples’ EPs; their career has progressed in fits and starts, some years bringing an abundance of music and others bringing nothing at all. They are friends first, band second, business third, often in spite of function, and often at their own expense; they choose the wrong singles, and insist on doing everything, from posters to merch to album covers to music videos, by themselves, often painstakingly. These things don’t break the moral and social rules rock stars are so fond of toeing — of course, Good Morning are decidedly not rock stars — but they are the kinds of things you’re not “supposed” to do if you want any kind of success or stability in music; still, every time the machinations of the industry have zigged, Good Morning have zagged.

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Ce contenu provient de la Sala Rossa et de Polyvinyl Records et est adapté par PAN M 360.

Chamber Pop / Experimental / Contemporary

Efterklang at Sala Rossa

by Rédaction PAN M 360

For over twenty years, Efterklang have been pushing the barriers of experimental, electronic, emotional chamber-pop. Announcing their sixth studio album Windflowers, their first for City Slang, the Danish trio of Mads Brauer, Rasmus Stolberg and Casper Clausen continue a creative journey that’s brought them closer together, even as their lives grow apart. Channelling the motifs of hope and change its namesake flora represents, the album sees their many years of collaboration and experimentation distilled into some of their most concise, most direct and confidently Efterklang-style pop songs to date.

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Original content from Efterklang and Sala Rossa, adapted by PAN M 360.

Electro / Experimental / Contemporary / Glitch / Melodic Noise

(CANCELLED) Fennesz • Britton Powell • Eliza Kavtion

by Alain Brunet

Austria’s Christian Fennesz released the album Agora on Touch in March 2019, then performed at the Suoni per il Popolo in June. The recording and concert were simply extraordinary, the sort of rare sound experiences from which one comes out transformed. Rich textural sediments with great saturation effects, digitally processed samples, electric guitars, effect pedals and other microvariations, there’s so much precious metals in the Fennesz mine for prospectors of horizontal music to extract. Total noise coexists perfectly with white noise, with the sharper frequencies and consonantly overlapping melodic scales. Needless to say, this concert by a master back in Montreal is an absolute must.

PROGRAM

Fennesz (electro / ambient / glitch / experimental)

Britton Powell (electro/ experimental)

Eliza Kavtion (noise / experimental)

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Jazz / Third Stream

(POSTPONED) Projet Don Ellis II

by Michel Rondeau

He has delivered two particularly memorable concerts at Sala Rossa in recent years. The first one, Grand Jawaka, in the summer of 2016, featured most of Frank Zappa’s albums Waka Jawaka and Grand Wazoo. The second, Ode à l’Infonie, the following summer, with the ensemble 333 ToutArtBel, revisited some of the legendary group’s emblematic works with a joyful enthusiasm. Following on from his December concert, which focused on the main representatives of the Third Stream, which combined classical music and jazz, namely Don Ellis, Robert F. Graettinger, Ken Hanna and Pete Rugolo, Philippe Hode-Keyser is presenting a new and improved version of his Don Ellis project, presented with an ensemble of 28 musicians in February 2017. This time, it’s with a collective of 58 artists (rhythm section, brass, woodwinds, sitar, tablas, choirs, dance) that he pays tribute to the work of the visionary trumpeter, composer and conductor Don Ellis, who died prematurely of a heart attack in 1978 at the age of 44.

PROGRAMME
“Brash Brass Bash” (1973)
“Good Feelin’” (1969)
“Fire Dance” (1973)
“Pussywiggle Stomp” (1968)
“Star Children” (1968)
“Thetis” (1967)
“Wolfgang for All Seasons” (1972)
“Without Joan” (1972)
“Hey Jude” (1969)
“Whiplash” (1978)

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Africa / Psych-Rock / Rock / Saharan Blues

(CANCELLED) Mdou Moctar • Avec le soleil sortant de sa bouche

by Rupert Bottenberg

*Photo credit: Jerome Fino

Niger’s Mdou Moctar isn’t the kind of person who waits for things to happen. Growing up in a village where music was prohibited, he built himself his first guitar from scrap wood. He travelled to Nigeria to record his 2008 debut album, which mashed up Tuareg blues-rock and Afro-electro, and spread like wildfire on the West African cellphone circuit. He produced and starred in the first Tuareg-language film, a remake of Purple Rain. And with each successive, blistering guitar lick, he’s placed himself at the forefront of the North African desert-psych sound that Tinariwen made the world aware of back in 2001. His latest album (and first with a proper band and producer), 2019’s Ilana: The Creator, is an amazing piece of work, bursting with energy and a harsh, shiny tone, Moctar’s rhythm section chugging steadily along behind him as he takes his outrageous riff-work to transcendental highs.

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Ambient / Avant-Garde / Electro / Experimental Dream Pop / Post-Rock

Siamois Synthesis

by Michel Rondeau

The first clue is a Montreal composer and audiovisual artist named Maxime Corbeil-Perron on keyboards and electronics, the second is a bass player who has been active on the independent music scene for the past 20 years, named Sylvain Gagné, the third one is a guitarist named Simon Trottier (not shown here), known for highlighting the textural possibilities of his instrument, the fourth a vocalist of Japanese origin named Maya Kuroki. Put them together and you have the new band Siamois Synthesis, launching their first album Feu Aimant, on the Ambiances Magnétiques label, whose first excerpt is very promising.

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