Montréal

Classical Singing / classique

Concours musical international de Montréal : Grande finale du CMIM

by Rédaction PAN M 360

L’heure est venue pour les cinq finalistes sélectionnés à la demi-finale par le prestigieux jury du CMIM de se mesurer à leurs pairs.
À cette étape cruciale du Concours, les chanteurs et chanteuses doivent démontrer toute l’étendue de leur technique et de leur expressivité à travers un programme d’une durée maximale de 18 minutes incluant trois airs extraits d’opéras ou d’œuvres orchestrales, interprétés dans au moins deux langues différentes.
Pour cette ultime épreuve, les finalistes ont le privilège de se produire aux côtés de l’Orchestre symphonique de Montréal (OSM), l’orchestre officiel du CMIM, sous la direction du renommé chef d’orchestre Patrick Summers. Ce moment décisif culminera en fin de soirée avec l’annonce des lauréats et des gagnants des prix spéciaux lors de la cérémonie de clôture.
Qui remportera le prestigieux titre de grand lauréat ou grande lauréate de Voix 2025? Venez encourager vos favoris et vivre en direct, depuis Montréal, l’émergence de futures célébrités internationales!

The time has come for the five finalists selected by the prestigious CMIM international jury during the semifinal to distinguish themselves from their peers.
At this crucial final stage of the competition, singers must demonstrate the full extent of their technique and expressiveness in a program lasting no more than 18 minutes, including three arias drawn from the opera or orchestral repertoire and performed in at least two different languages.
For this final round, the five finalists have the privilege of performing alongside the Orchestre symphonique de Montréal (OSM), under the direction of renowned conductor Patrick Summers. This decisive moment will culminate at the end of the evening with the announcement of the laureates and the winners of the special prizes at the closing ceremony.
Who will win the prestigious title of Grand Laureate of Voice 2025? Come and cheer on your favourites and experience the emergence of future international stars live from Montreal! Don’t miss this exceptional event.

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Ce contenu provient de Place des Arts et est adapté par PAN M 360

Coldwave / Gothic / Krautrock

Peter Hook and The Light au MTelus

by Rédaction PAN M 360

Peter Hook & The Light est un groupe anglais de post-punk, formé en mai 2010 par le bassiste et chanteur Peter Hook, ancien membre des groupes influents Joy Division et New Order. Le groupe comprend également Jack Bates, le fils de Hook, à la basse, ainsi qu’Andy Poole (claviers) et Paul Kehoe (batterie), qui avaient tous deux joué avec Hook au sein de Monaco, l’un de ses anciens projets.
Le groupe est reconnu pour interpréter en concert les albums de Joy Division et de New Order. Cette initiative a suscité des critiques de la part des autres membres de New Order, Bernard Sumner, Stephen Morris (également membre de Joy Division) et Gillian Gilbert, après la reformation de New Order sans Hook. Peter Hook & The Light sont parfois accompagnés par Rowetta, qui assure des voix invitées.

Peter Hook & The Light are an English post-punk band, formed in May 2010 by bassist and vocalist Peter Hook, formerly of the influential post-punk bands Joy Division and New Order. The band also features Hook’s son Jack Bates (bass), as well as Andy Poole (keyboards) and Paul Kehoe (drums), who both played with Hook as part of Monaco, one of Hook’s previous groups.
The band is noted for performing the Joy Division and New Order albums live. The band gained some criticism from the other New Order members, Bernard Sumner and Stephen Morris (also of Joy Division) and Gillian Gilbert, after New Order’s reunion without Hook. The band is also occasionally accompanied by Rowetta, who performs guest vocals.

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

Electronic / Industrial / noise / noise

ORPHX au Ritz PDB

by Rédaction PAN M 360

Le duo canadien Rich Oddie et Christina Sealey a fondé Orphx au début des années 90, publiant une série de cassettes expérimentales mêlant noise et musique industrielle. Leur premier album CD, Fragmentation, est sorti en 1996 sur le label américain Malignant Records. À la fin des années 90, leur son évolue vers une approche plus proche du techno, souvent qualifiée de rhythmic noise. L’EP 10” Nullity paraît sur Hands Productions en 1998, suivi de l’album Vita Mediativa en 1999. Le duo commence alors à se produire intensivement en Amérique du Nord et en Europe, participant notamment aux festivals industriels allemands Maschinenfest et Forms of Hands au début des années 2000, aux côtés d’artistes comme Winterkälte, Ah Cama-Sotz et Mimetic. Orphx poursuit ses sorties sur Hands Productions, tout en publiant l’album Circuitbreaking sur Hymen Records en 2004. En 2008, Hands publie Teletai, une compilation double CD regroupant des morceaux rares ou auparavant disponibles uniquement en vinyle, avec un disque de remixes signés Surgeon, Fluxion, Sleeparchive et d’autres figures de la scène techno et industrielle. En 2009, Orphx signe avec le label Sonic Groove d’Adam X et entame la publication d’une série de 12” techno, tout en partageant l’affiche avec des DJs comme Marcel Dettmann et Ben Klock. Hymen Records compile ensuite ces morceaux en CD avec The Sonic Groove Releases, Pt. 1 en 2014, suivi de Pt. 2 en 2015. En 2016, Orphx sort l’album Pitch Black Mirror, sur lequel figure la chanteuse Marie Davidson en tant qu’invitée.

Canadian duo Rich Oddie and Christina Sealey began Orphx in the early ’90s, releasing a series of experimental noise and industrial cassettes. Their first CD release was Fragmentation on American label Malignant Records in 1996, and by the end of the ’90s, their sound had shifted in a more techno-leaning direction, often referred to as “rhythmic noise.” The 10″ EP Nullity appeared on Hands Productions in 1998, followed by full-length CD Vita Mediativa in 1999. The duo began performing extensively across North America and Europe, and made several appearances at German industrial festivals Maschinenfest and Forms of Hands in the early 2000s, alongside labelmates such as Winterkälte, Ah Cama-Sotz, Mimetic, and numerous others. Several albums on Hands Productions continued, as well as 2004 full-length Circuitbreaking on Hymen Records. In 2008, Hands released Teletai, a double-CD collection of rarities and tracks previously only released on vinyl, with a disc of remixes by Surgeon, Fluxion, Sleeparchive, and many other techno and industrial artists. In 2009, Orphx signed to Adam X’s Sonic Groove label and began releasing a series of techno 12″s, and the duo performed at events with techno DJs such as Marcel Dettmann and Ben Klock. Hymen Records began compiling tracks from these 12″s for CD releases, starting with The Sonic Groove Releases, Pt. 1 in 2014, followed by Pt. 2 in 2015. Orphx’s full-length, Pitch Black Mirror, which featured guest vocals by Marie Davidson, was released in 2016.

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Ce contenu provient d’AllMusic et est adapté par PAN M 360

Electronic / Techno

Beauz au Théâtre Fairmount

by Rédaction PAN M 360

Dominant les scènes principales des festivals et remplissant des salles emblématiques en Amérique du Nord et en Asie, BEAUZ est un nom impossible à ignorer en 2024.
Originaires de Los Angeles, les frères DJ et producteurs américains ont atteint de nouveaux sommets grâce à une année d’exploits extraordinaires, s’imposant comme une véritable force du Hard Techno. Rien qu’en 2024, ils ont rassemblé une base fidèle de plus de 600 000 “baddies” grâce à du contenu viral sur Instagram et TikTok, et accumulé plus de 2 millions de vues sur leurs DJ sets Hard Techno sur YouTube, rivalisant ainsi avec les plus grands noms du genre.

Dominating festival main stages and selling out strongholds across North America and Asia, BEAUZ is a name impossible to ignore in 2024.
Hailing from Los Angeles, the American DJ / producer brothers soared to new heights through a year of extraordinary feats, proving themselves to be a powerhouse of fresh Hard Techno. In 2024 alone, they built a loyal fan base of more than 600,000 “baddies” through viral content across IG and Tiktok, and accumulated more than 2 million views on their Hard Techno DJ sets on YouTube, rivaling even the top Hard Techno acts.

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

Alternative / Indie Rock

Livingston au Théâtre Beanfield

by Rédaction PAN M 360

La musique de Livingston est le point de rencontre entre la réalité et la fiction. Auteur-compositeur-interprète et producteur de 22 ans originaire de Denton, au Texas, il a passé une grande partie de son adolescence isolée à perfectionner sa passion pour la musique afin d’échapper à son anxiété. L’univers sonore qu’il a créé associe des paroles et des mélodies profondément personnelles, intimes et émouvantes à des arrangements grandioses, une production soignée et des couches musicales riches.

Livingston’s music is the sound of reality and fiction colliding. The 22-year-old singer/songwriter and producer from Denton, Texas would spend much of his isolated youth honing in his passion for music to escape his anxiety. The sonic world he created pairs deeply personal, intimate, emotional lyrics and melodies alongside larger-than-life arrangements, production and musical layers.

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

Balkan music / Klezmer / psychédélique

Let’s Yiddish’n’roll with Kallisto!

by Frédéric Cardin

I’ve already spoken to you about Kallisto, a klezmer yiddish-folk Anatolian-psychedelic-rock meets balkanic-swing quintet that tickled my ears at the Sylis d’or 2023 at the Balattou club (READ THE INTERVIEW I DID HERE – in French), here in Montreal. I had the chance to see them live again on Sunday evening, 18 May 2025 at Balattou, and the initial impression remains the same: this is a very solid band, aesthetically and musically, built on the foundations of Jewish music but blending multiple influences that blend organically and very festively. The sub-genres mentioned above can all be found, to a greater or lesser extent, in one of the band’s pieces, whether standard or original composition. 

That said, the group is not the same as it was in 2023, except for leader Jossée McInnis (clearly the creative soul of the ensemble), who is also a clarinettist. The Montrealer (formerly from London, ON) is an instrumentalist with a rock-solid musical science, classic technique and tonal precision, to be sure. But she swings well and handles the colours and inflections of klezmer music with perfect ease. The lady has surrounded herself with other top names, perhaps even better than in the Sylis 2023 version: Antoine Bensoussan on guitar (a skilful surf-styler, among others), Jefferson Perez on cello (brilliant in both his tonal beauty and his improvisational skills), Patrick Lebrun on bass and Edward Scrimger on drums. 

Kallisto play regular gigs in good small venues, from Montreal to Sherbrooke to Toronto, so keep an eye on the agenda of your favourite live music bars. If they happen to be in your area, be sure to give them a listen. It’s a great way to spend the evening. 

Next official gig dates: 

9 July 2025 – Quai des brumes, Montreal

July 19, 2025 – Duluth en Arts, Duluth Street, Montreal

KALLISTO WEBSITE

Dubstep / Electronic

Southern Invasion 2025 au Club Soda

by Rédaction PAN M 360

À vos agendas ! La version sud des #RiddimOlympics revient au Club Soda les 23 et 24 mai ! Pour la première fois, l’événement se tiendra sur deux jours, transformant cette édition en une véritable expérience immersive dubstep/riddim. Un rendez-vous incontournable à ne pas manquer !

Mark your calendar, the south version of the #RiddimOlympics is returning to Club Soda, May 23+24! This will be the first ever 2-day edition, and we’re turning it into a full dubstep/riddim immersive experience (and you definitely don’t wanna miss it).

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

Americana / Country Folk

Dylan Gossett au MTelus

by Rédaction PAN M 360

Originaire d’Austin, Dylan Gossett puise dans la tradition du country simple et émouvant qui traverse le centre du Texas. Complice de Zach Bryan, Gossett privilégie une instrumentation épurée et un récit narratif, des qualités bien présentes sur son EP No Better Time sorti en 2023, qui a notamment révélé son tube viral Coal.

A native of Austin, Dylan Gossett mines the vein of plaintive, plain-spoken country that runs through central Texas. A kindred spirit to Zach Bryan, Gossett favors spare instrumentation and storytelling, qualities evident on his 2023 debut EP No Better Time, which featured his viral hit “Coal.”

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Ce contenu provient d’AllMusic et est adapté par PAN M 360

Orchestral Pop

OSM | Half Moon Run’s Masterful Return to The Symphonic… Home

by Marilyn Bouchard

On May 15 at the Maison symphonique was the last of 3 performances of the return of Half Moon Run with the Orchestre symphonique de Montréal conducted by Adam Johnson.

The evening began with Everyone’s Moving Out East, richly accompanied by the full orchestra. The soaring 9beat followed to the rhythm of brilliantly enriched percussion, delicately complemented by female backing vocals and violins, amplifying the light of the musical epic, which ended sharply at the climax, to the cheers of the crowd.

We came back down for Goodbye Cali, with the guys strolling across the stage in long strides to the rhythm of the promenade, which ended with the piano scores intertwining, veering into jazz. Crawl Back In then opened, softly, with only acoustic guitar and vocals backed by violins, quickly evolving into more complexity.

We found ourselves suspended for a moment in time, and I don’t know if it’s because of a little similarity with Hallelujah, but this one brought a tear to my eye. Immediately afterwards, the highlight of the evening, How Come My Body, one of my favourites, went completely wild, with the percussion and double bass weighing down the atmosphere and the female singers adding density to the choruses.

Razorblade and Loose Ends were presented in a rousing, rhythmic fashion, with the brass instruments, and solo trumpeter Paul Merkelo in particular, taking full advantage of their space. You won’t (look me in the eyes) was really well accompanied by violins, surprising us with a magnificent solo from Marianne Dugal in particular, and enveloped by female vocal harmonies, while the atmospheric Another Woman came close to Muse’s progressive/alternative rock with the orchestra and an abundance of staccatos. We were treated to a deep, rich version of It’s true, on which the double basses heightened the song’s dramatic potential tenfold, as well as Grow Into Love and Then Again adorned with overlapping violins, between pizzicatos and legatos that filled the airs.

The awaited Full Circle kicked off with Serge Desgagnés’ expertly executed percussion, and was the perfect song to highlight this angle of the orchestral arrangement, quickly progressing to one of the evening’s most masterful orchestrations. Call me in the afternoon, warmly welcomed by the audience, stood out for its electrifying guitar duet at the front of the stage. This was followed by I can’t figure out what’s going on and She wants to know you can let go, opening with a Tchaikovsky-like introduction of flutes and oboes, quickly accompanied by the other winds. The encore, Sun leads me on , ended the evening magnificently, starting with Devon, Conner and Dylan going up to find the leader on the central platform to deliver the last song in chorus, around the same microphone. They were gradually joined by the singers, flutes, oboes and clarinets for a final crescendo that left us with heads full of music.Tout au long du spectacle, les arrangements sensibles de Blair Thompson se sont illustrés en sachant délicatement faire briller les points forts des compositions d’Half Moon Run. Un spectacle senti, bien calculé et extraordinairement bien exécuté, conduit de main de maître par Adam Johnson. Si vous n’y étiez pas, vous avez manqué un MOMENT.

Photo Credit : Antoine Saito

Balkan music / Choral Music

Enchanting choral Croatia at the Centre des musiciens du monde

by Frédéric Cardin

I’ve been a regular at the Centre des musiciens du monde’s (CMM) Intimate Concerts series since the very first one last January. They’ve all been excellent, each time featuring top-quality artists who’ve settled in Montreal for its cultural vitality and, in the process, enriched it in an exceptional way, thanks to the traditional and refined sounds from Rwanda, Syria, Mongolia, Iran, Peru and so on. While I’m fairly familiar with all the artists featured (and to be featured) in the series so far, one exception was on stage last night: the vocal ensemble Sava, whose existence I didn’t even know about until quite recently. I was so taken with them that I had to tell you about it.

Sava is an all-female vocal quartet devoted to traditional Balkan polyphonic songs. For this concert, Sava covered some of the repertoire specifically from Croatia, with secular and religious songs. This performance, behind the altar of the Church of Saint-Enfant Jésus (in a very intimate setting), totally bowled me over. This was due not only to the surprise effect, but also to the exceptional vocal quality of the four performers, Antonia Branković, Dina Cindrić, Sara Rousseau and Sarah Albu (the latter also one of the most exciting recent voices in contemporary and avant-garde music in the city). In the perfect acoustics of the venue, the seductive rubbing of thirds, fourths and fifths of the four voices produced a soothing vibratory effect on the audience gathered, and on your humble reviewer, who was transported back in time and space, to an ancient and perfectly authentic Dalmatia.

I don’t know how often the ladies perform in concert, but they’d better go at it! And if you’re ever interested, you should know that the ensemble is a product of all kinds of music courses available at the CMM!

MUSIC SCHOOL OF THE CENTRE DES MUSICIENS DU MONDE

Alt Folk / Alternative / Indie Pop

Rainbow Kitten Surprise au MTelus

by Rédaction PAN M 360

Originaire de la ville universitaire de Boone, nichée dans les montagnes Blue Ridge en Caroline du Nord, Rainbow Kitten Surprise propose un mélange fervent de pop indie lumineuse et de folk-rock sincère, porté par des harmonies soignées. Leur combinaison de maîtrise instrumentale et d’influences jam band leur a permis de se bâtir une solide base de fans. Après quelques sorties indépendantes, le groupe signe avec Elektra pour publier son deuxième album complet, How To: Friend, Love, Freefall, en 2018. Une année de tournée intensive suit, menant à l’album live RKS! Live from Athens Georgia en 2021. Après plusieurs années consacrées aux singles, Rainbow Kitten Surprise fait son retour en 2024 avec le double album ambitieux Love Hate Music Box, qui brouille les frontières entre les genres.

Hailing from the Blue Ridge Mountain college town of Boone, North Carolina, Rainbow Kitten Surprise play a fervent mix of bright indie pop and earnest, harmony-driven folk-rock. Their mix of tight instrumental chops and jam band finesse helped earn them a strong grassroots following and, after a couple of indie releases, they signed with Elektra to issue their second full-length, How To: Friend, Love, Freefall, in 2018. A year of heavy touring followed and yielded the 2021 concert album RKS! Live from Athens Georgia. After focusing on singles for several years, Rainbow Kitten Surprise returned in 2024 with the ambitious, genre-blurring double album Love Hate Music Box.

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Ce contenu provient d’AllMusic et est adapté par PAN M 360

Baroque / classique

Les Violons du Roy : Chaconnes et passacailles avec Bernard Labadie

by Rédaction PAN M 360

Bernard Labadie propose un brillant programme de musique italienne, française et anglaise, mettant en lumière ses propres arrangements de deux chefs-d’œuvre baroques réalisés spécialement pour Les Violons du Roy : la monumentale Passacaille et fugue en do mineur de Bach et la poignante Chaconne en fa mineur de Pachelbel.

Bernard Labadie offers a brilliant programme of Italian, French and English music featuring his own arrangements of two Baroque masterpieces especially made for Les Violons du Roy: Bach’s monumental Passacaglia and Fugue in C minor and Pachelbel’s poignant Chaconne in E minor.

Programme

H. PURCELL
Chaconne en sol mineur, Z.730
J.-B. LULLY
Chaconne (Phaëton)
J.S. BACH
Passacaille et fugue en do mineur, BWV582 (arr. B. Labadie)
J. PACHELBEL
Chaconne en mi mineur (arr. B. Labadie)
F. GEMINIANI
Concerto grosso n°12 La Follia (d’après Corelli)

Program

H. PURCELL
Chaconne in G Minor, Z.730
J.-B. LULLY
Chaconne (Phaëton)
J.S. BACH
Passacaglia and Fugue in C Minor, BWV582 (arr. B. Labadie)
J. PACHELBEL
Chaconne in E Minor (arr. B. Labadie)
F. GEMINIANI
Concerto grosso No.12 La Follia (after Corelli)

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Ce contenu provient des Violons du Roy et est adapté par PAN M 360

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