HOMESHAKE au Fairmount

by Rédaction PAN M 360

Contrairement à la plupart d’entre nous, Peter Sagar – également connu sous le nom de HOMESHAKE – restait souvent à la maison, bien avant la pandémie. Sagar a écrit la majorité de son cinquième album studio, Under the Weather, en 2019, alors qu’il traversait une longue et implacable période de tristesse. “J’étais dans une profonde, profonde dépression”, se souvient-il maintenant de cette période. “Les tournées me brisaient. C’était affreux.” Sagar et son partenaire habitaient à Montréal et pendant que tout le monde était dehors à faire des rencontres, il était à l’intérieur à écouter de la musique ambiante, à regarder Star Trek en boucle et à écrire des chansons. « C’était un peu comme un puit sombre “, dit-il. “C’est un peu le sujet de tout l’album”.

Unlike most of us, Peter Sagar — also known as HOMESHAKE — was staying at home a lot, long before the pandemic. Sagar wrote the majority of his fifth studio album, Under the Weather, in 2019, when he was going through a long, unrelenting period of sadness. “I was in a deep, deep depression,” he recalls of that time period now. “Tours were breaking me. It was awful.” Sagar and his partner were living in Montreal and while everyone was out being social, he was inside listening to ambient music, binging Star Trek, and writing songs. (Sound familiar?) “It was a bit of a dark pit,” he says. “That’s kind of what the whole album is about.”

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Ce contenu provient du Théâtre Fairmount et de Sinderlyn et est adapté par PAN M 360.

Death Metal / Metal

Amorphis au Fairmount

by Rédaction PAN M 360

Les Finlandais d’Amorphis sont les porte-drapeaux du métal nordique depuis la dernière décennie du XXe siècle. Conçus à l’origine comme un groupe de death metal, ils ont très tôt transcendé la limite du genre en incorporant dans leur album de 1994, Tales From The Thousand Lakes, des éléments de folk, de viking et de metal progressif. Am Universum, sorti en 2001 et imprégné de claviers et de saxophones, est allé encore plus loin en intégrant des éléments psychédéliques dans leur palette sonore. L’album Skyforger de 2009, célébré dans le monde entier, présente un death mélodique aux riffs bien équilibrés avec des principes progressifs accrocheurs. L’album Under The Red Cloud de 2015 a poussé ce son aussi loin qu’il pouvait aller pour devenir un best-seller mondial. En 2018, Queen of Time a réussi à faire de même avec un mélange de prog, de psychédélique et de hard rock ; son single “The Bee” a gravi les classements internationaux de streaming. L’année 2022 a vu la sortie de Halo, dont les chansons utilisent des signatures temporelles changeantes, des mélodies complexes, des chœurs et des dynamiques toujours changeantes pour souligner la fusion unique et inégalée de folk et de death metal mélodique du groupe.

Finland’s Amorphis have been standard bearers for Nordic metal since the final decade of the 20th century. Originally conceived as a death metal band, they transcended the genre limitation early on as 1994’s Tales From The Thousand Lakes began incorporating elements of folk, Viking, and progressive metal into their sound. 2001’s keyboards-and-saxophone-drenched Am Universum went further, threading psychedelia into their sonic quilt. 2009’s globally celebrated Skyforger showcased riff driven melodic death balanced with hooky progressive tenets. 2015’s Under The Red Cloud took that sound as far as it could go to became a global bestseller. 2018’s Queen of Time managed just that with a meld of prog, psych and driving hard rock; its single “The Bee,” climbed international streaming charts. 2022’s saw the release of Halo, whose songs utilized shifting time signatures, intricate melodies, choirs, and ever changing dynamics to underscore the band’s unique, unrivaled folk-cum-melodic death metal fusion.

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Ce contenu provient du Théâtre Fairmount et est adapté par PAN M 360.

Indie Pop

Lysandre – Lancement de l’album Sans Oublier au Théâtre Fairmount

by Rédaction PAN M 360

Polyvalente, l’auteure-compositrice-interprète Lysandre performe dans le milieu de la musique depuis longtemps en tant que membre et accompagnatrice de nombreux groupes (Klô Pelgag, Helena Deland, Étienne Dufresne, N Nao). Suite à la parution de son premier EP Maison-Dieu, Lysandre lance son premier album Sans Oublier pour 2022, sous l’étiquette Chivi Chivi.Ce sera une prise de parole sensible et poétique peuplée d’images et d’hommages. Portée par la parole des femmes qu’elle côtoie et des autrices qu’elle admire, Lysandre s’émancipe, affranchit ses mots et sa voix en des portraits intimes, dont la musique devient le conduit. Inspirée de sa formation musicale, elle joue entre les codes classiques et pop et crée des sonorités uniques en mêlant piano, trombones, violoncelle et clavecin au reste. Guidée par Alexandre Martel à la réalisation, des musiciens Étienne Dupré (Klô Pelgag) et Samuel Gougoux (Corridor) et entourée de précieuses collaboratrices et collaborateurs (Aaron Wolff, Blaise Émard, Ouri, Ariane Roy, N NAO, Lou-Adriane Cassidy), Lysandre nous offre des compositions aussi profondes et musicalement riches que fédératrices.

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Ce contenu provient du Théâtre Fairmount et est adapté par PAN M 360.

Instrumental Rock

MONO at Théâtre Fairmount

by Rédaction PAN M 360

The Tokyo, Japan based 4-piece Instrumental Rock band MONO was originally formed in 1999. Their unique approach of combining moving orchestral arrangements and shoegaze guitar noise is held in extremely high regard; so much so, that the band’s musicianship and the diverse musical palette has eclipsed the Rock genre and exists within its own realm. As British Musical Magazine NME once stated, “this is music for the Gods”.

Over the first decade, MONO rapidly established a well-acclaimed status, especially with their live performances. Through their annual world tour consisting of around 150 shows, visiting now over 59 countries, both critics and fans of Rock music agree their sheer euphoric, dynamic resonance of performance make MONO one of the best live bands in existence. A particularly monumental early live memory was special set of orchestra shows celebrating the 10th anniversary in New York, Tokyo, London and Melbourne; which was later immortalised as the live album “Holy Ground”. MONO now also proudly holds the title of being one of the most internationally successful bands in Japan.

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Original content from Théâtre Fairmount and Ground Control Touring, adapted by PAN M 360.

Electro / Electronic / House

Étienne De Crécy

by Patrick Baillargeon

Indie Rock / Rock

Destroyer • Nap Eyes

by Patrick Baillargeon

The unpredictable and always captivating Dan Bejar, the soul behind Destroyer, arrives in town to present his twelfth effort. Known for never making the same record twice, Bejar offers ten songs on Have We Met, produced in the company of his guitarist John Collins. Without abandoning the theatrical tone that has always characterized his work, nor his Bowiesque aspect, Destroyer is slightly less sinister or gothic than on his two previous records, with a few pieces showing a much more lighthearted tone. Without saying that this album – initially conceived to be entirely instrumental – is downright playful, it remains perhaps more accessible for anyone who’s not familiar with Bejar’s strange work. By his own admission, the Vancouver-based musician and singer was inspired by Leonard Cohen’s last records, soundtracks such as Pretty In Pink and White Nights, as well as… 1980s hip-hop.

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Hip Hop

Cam’ron

by Alain Brunet

Harlem MC Cameron Ezike Giles, now 44, enjoyed some fame in the 1990s and 2000s; rapper Cam’ron (his stage name) was one of the hopes of the Roc-A-Fella label, and then… he stopped releasing albums between 2009 and 2019. Perceived as a veteran who’s been around a lot of hip hop’s big names, the rapper is now trying to relaunch his career with the still-fresh Purple Haze 2 – his first album with the same title dates back to 2004. What will it be like on stage… a decade later?

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