L.A. Witch au Ritz PDB

by Rédaction PAN M 360

L.A. Witch, un trio rock gothique et atmosphérique basé à Los Angeles, est centré autour de la chanteuse/guitariste Sade Sanchez. Ils ont gagné une large reconnaissance avec leur premier album éponyme sorti en 2017, qui mettait en avant leur son endurci par la route et les alignait avec des groupes au style brut et vêtu de cuir, comme les Kills, the Jesus and Mary Chain, et Black Rebel Motorcycle Club.

Los Angeles’ L.A. Witch is a gothy, atmospheric rock trio centered on singer/guitarist Sade Sanchez. They gained widespread buzz with their 2017 debut, L.A. Witch, which showcased their road-hardened sound and aligned them with gritty, leather-clad outfits like the Kills, the Jesus and Mary Chain, and Black Rebel Motorcycle Club.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

folk-punk / Indie Rock / Lo-Fi

AJJ (en formule solo)

by Rédaction PAN M 360

AJJ est un groupe prolifique de folk-punk originaire de Phoenix, Arizona, dont le son sauvage intègre une instrumentation éclectique (cuivres, Theremin, mandoline, scie musicale) et explore une multitude de sujets allant de l’actualité et la politique à l’absurde. Après leurs débuts en 2005 sous le nom de Andrew Jackson Jihad, ils ont enregistré à un rythme effréné, publiant de nombreux singles D.I.Y., splits 7″, EPs et démos entre leurs albums studio, comme le très apprécié Can’t Maintain (2009) et Knife Man (2011). Ils se sont éloignés de leurs origines acoustiques sur Christmas Island (2014), avant de raccourcir leur nom en AJJ pour leurs sorties suivantes, comme Good Luck Everybody (2020) et Disposable Everything (2023), tout en offrant des commentaires spirituels et intenses sur eux-mêmes et la société à travers leurs nombreuses sorties annexes.

AJJ is a prolific folk-punk band from Phoenix, Arizona whose wild sound incorporates eclectic instrumentation (horns, Theremin, mandolin, singing saw) and explores myriad subjects from the topical and political to the absurd. After debuting in 2005 under the name Andrew Jackson Jihad, they recorded at a furious pace, issuing numerous D.I.Y. singles, split 7″ releases, EPs, and demos in between studio albums like 2009’s highly regarded Can’t Maintain and 2011’s Knife Man. They moved away from their acoustic originals on 2014’s Christmas Island, then shortened their name to the abbreviated AJJ on subsequent releases like 2020’s Good Luck Everybody and 2023’s Disposable Everything, all while offering witty, intense commentary on themselves and society at large through their copious auxiliary releases.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

classique / Piano

OSM : L’étincelant Concerto pour piano de Ravel

by Rédaction PAN M 360

Benjamin Grosvenor, magicien du piano, interprétera l’éblouissant Concerto en sol de Ravel. Au centre de cette partition d’un irrésistible dynamisme, le compositeur dévoile pudiquement sa sensibilité par le biais d’une mélopée d’une extrême douceur. L’ambiance plus tumultueuse de la Symphonie n^o 6 de Vaughan Williams offrira un contraste frappant. Puissante, entrecoupée de passages introspectifs, l’œuvre est attisée par des tensions permanentes qui s’estompent dans les sonorités quasi immatérielles du final.

Benjamin Grosvenor, a magician of the piano, will perform Ravel’s mesmerizing Concerto in G. In the middle movement of this irrepressibly vibrant work, the composer reveals his deep sensitivity in an ethereal melody of the utmost tenderness. The more turbulent mood of Vaughan Williams’ Symphony no. 6 offers a striking contrast: forceful, though interspersed with introspective passages, this work is powered by an ongoing tension that dissolves into virtual immateriality in the finale.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

Avant-Garde / Contemporary

Le Vivier: many skills, few surprises

by Frédéric Cardin

I’d like to tell you right away that I had a wonderful evening, despite some flaws I’m about to add to the appreciation of last night’s concert. The evening, entitled Aptitudes matérielles (Material Skills), was an encounter between the contemporary creative scenes of New York and Montreal, presented at the Espace Bleu du Wilder, in Montreal’s Quartier des Spectacles, under the umbrella of Le Vivier, an indispensable musical catalyst on the Montreal scene.

New York’s Hypercube ensemble, an unusual quartet comprising piano, saxophone, electric guitar and percussion, crossed sonic paths with three Montreal artists, Antonin Bourgault, Antoine Goudreau and Corie Rose Soumah. Only Bourgault actually joined the New Yorkers with his saxophone. For the others, the relationship took shape solely as composers.

I’ll take several things away from this experience: the excellence of the Hypercube performers, a tightly-knit group that shows deeply intimate mutual listening and displays impressive technical quality. I also note that the musical avant-garde has come a long way in the last 50, even 75 years. We’ve reached the point where we can enjoy a concert of this kind, savoring the interpretative excellence displayed and the plastic beauty of the sounds generated on stage, without really being surprised by the proposal. Indeed, this was the feeling that assailed me during the concert: I’ve heard it all before. For in the narrative abstractions suggested, the numerous timbral projections, textural contrasts and sonic outbursts, nothing truly revolutionary, or even intriguing, emerged. Beautiful and plastically impeccable, but not surprising or off the beaten track.

That said, as mentioned, yours truly enjoyed the evening, as the music on offer was intelligent, informed by the best of musical knowhow and conceived in a clear spirit of aesthetic and sensory communication.

First and foremost, the acousmatic portions of the scores were beautifully spatialized, with an effective octophony (if I’m not mistaken) that succeeded in plunging the audience into the center of pleasant synthetic outbursts. Musically, I’d sum up by saying that Soumah and Goudreau are the best at taking advantage of the coloristic possibilities of the Hypercube ensemble, integrating them into effective dramatic constructions, discursively fragmented but comprehensible. Corie Rose Soumah is one of the most interesting emerging voices in scholarly music, and her Soundcloud page should be a priority listen, if you’re really interested in contemporary stuff. The Montrealer is based in New York, so her close relationship with the band.

Corie Rose Soumah Soundcloud page

Hypercube’s saxophonist, Canadian Erin Rogers, has offered Mirror to Fire, a piece derived from a Nine Inch Nails song (The Lovers, from the album Add Violence). Mirror to Fire has become a kind of study in the musical possibilities of separating the harmonic and rhythmic pillars of a “popular” work, and is the easiest score in terms of discursive path that could be heard in the concert. All the works on the program were world premieres (except for one of Soumah’s pieces, a Canadian premiere ‘’only’’).

Classic avant-garde, drawing as much on Stockhausen as 1970s free jazz and acousmatic music, with no particular astonishment but undeniably seductive artistry.

chanson keb franco / Electro-Pop / Indie

Klô Pelgag au MTelus

by Rédaction PAN M 360

Abracadabra comme une quête d’absolu, un désir de croire encore à quelque chose. Une formule qu’on aimerait voir tout régler. Un mot qu’on se répète en fixant la fenêtre. À force de le répéter, finira-t-il par ouvrir une porte à l’intérieur de soi?

Abracadabra, like a quest for the absolute, a desire to still believe in something. A formula we wish could solve everything. A word we repeat while staring out the window. If we keep repeating it, will it eventually open a door within ourselves?

LES BILLETS POUR CE SPECTACLE SONT ÉPUISÉS!

Ce contenu provient du MTelus et est adapté par PAN M 360

classique / musique de film

OSM : La magie de Harry Potter

by Rédaction PAN M 360

Depuis la sortie du film Harry Potter à l’école des sorciers, il y a 25 ans, l’engouement pour la célèbre série fantastique et ses personnages de Poudlard n’a cessé de croître. Redécouvrez les mélodies légendaires de ces films emblématiques, composées par John Williams. Que vous soyez Serpentard, Gryffondor, Poufsouffle ou Serdaigle, revêtez les couleurs de votre maison et venez vivre cette aventure en famille!

Since the release of the film Harry Potter and the Sorcerer’s Stone 25 years ago, the beloved fantasy series and its Hogwarts characters have continued to captivate audiences. Relive the unforgettable melodies from these iconic films, composed by John Williams. Whether you belong to Slytherin, Gryffindor, Hufflepuff, or Ravenclaw, don your house colours and bring the entire family for this magical adventure!

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de l’Orchestre symphonique de Montréal et est adapté par PAN M 360

Art Rock / Experimental Rock / Garage Rock / Gospel / Gothic / Post-Punk / Rock

Nick Cave & the Bad Seeds hold ceremonial court at Place Bell

by Stephan Boissonneault

At an age when most rock frontmen either fade into dad-band obscurity or find themselves on awkward “farewell” tours sponsored by insurance companies that go on forever, Nick Cave has somehow grown even more mythic — part preacher, part lounge lizard, part ghost. Last week at Place Bell, he and the Bad Seeds put on a masterclass in controlled chaos, proving that while the world around them gets cheaper and dumber, their particular brand of menace remains stubborn and gorgeously intact.

The setlist was a tightrope walk between the old gods and the new. They wasted no time, as Cave, looking like a slick mafioso, plunged straight into “Frogs” — a synthy theatric gut-punch opener that immediately separated the tourists from the true believers. As Cave crooned “Kill Me, Kill Me, in the Sunday Raiiiiinnn,” I was immediately enraptured. From there, Nick Cave stalked the stage like a man who summons plagues with a finger-snap, pulling the crowd in to “Wild God,” and “Song Of The Lake.” These new songs from Wild God already felt like classics in Cave’s hands, stitched seamlessly into the old blood-soaked fabric. Somehow, Wild God isn’t a midlife crisis; but an artist in full control of their nightmare machine.

From there, we got “From Her to Eternity”—probably the closest I’ll ever get to The Birthday Party live, and the swampy gothic horror of “Tupelo.” Every scream, every whispered threat, was perfectly calibrated, yet never once felt mechanical. Cave and Warren Ellis (who made the violin his slave) were already drenched in sweat three songs in. Still, Cave gave the fans what they wanted, constantly shaking their hands mid-song or being held up by them.

Special mention must go to the Bad Seeds themselves — a band so tight they could probably perform sonic brain surgery blindfolded if asked. The gospel backing vocals matching Cave’s are spectacular, and Warren Ellis, shaggy and unhinged as ever, played every instrument that wasn’t bolted down, sometimes two at once. Larry Mullins pounded the drums with the kind of grim determination usually reserved for medieval executioners. The Bad Seeds made chaos sound rehearsed, and perfection sound like an accident. We of course got “Red Right Hand,” which is way more sinister live than recording, but my stand out has to be “The Mercy Seat,” from Tender Prey. That song is absolutely haunting live, and has this deranged energy that will be one of my forever concert highlights.

The encore was pure emotional warfare: “Papa Won’t Leave You, Henry” bellowed into “The Weeping Song” and then slid into the devastating hush of “Skeleton Tree.” Was it fun? Sure, in a funeral procession sort of way. Was it brilliant? Obviously. Nick Cave & The Bad Seeds don’t play “shows” anymore — they hold ceremonies, and if you’re lucky enough to attend, you leave a little less whole than when you first arrived.

Photos by Patrick Beaudry, evenko

Classical / Classical Period

OSM | A Morning of Lightness

by Alexis Desrosiers-Michaud

Less than twelve hours after performing a concert version of Mozart’s opera Cosi fan tutte as part of the festival of the same name, the Orchestre Symphonique de Montréal (OSM) and Rafael Payare presented two of the composer’s last works: Piano Concerto No. 27, with Kevin Chen as soloist, and Symphony No. 41, known as the “Jupiter” Symphony.

From the very first movement of the Concerto, we sense that everything will be in finesse, even before the soloist enters. At this point, our impression is confirmed; the fingers almost float over the keyboard. A real dialogue is established between Chen and the orchestra, with whom he constantly makes eye contact. The second movement is a gentle delight that takes us elsewhere, into a plaintive, restful, almost meditative world. This excerpt, full of emotion where the notes held never die, would certainly have been the subject of a replay on a digital application.

The “Jupiter” symphony that follows follows in the same vein as the Concerto, i.e., everything is lively, lilting, rhythmic, but light-hearted. All the more so since “one of the themes of the first movement is a bass aria written for an opera by Anfossi”. There’s something lyrical about this first movement.

The third movement could have been more dance-like, in keeping with the minuet tradition. Marked Menuetto : Allegretto, it tended more towards the second part of its surtitle, with a little more gallantry than usual.

The exclamation point of this symphony is undoubtedly the final movement. Indeed, Mozart’s final symphonic page is a jewel of contrapuntal writing, with no fewer than 5 (!) themes continuing uninterruptedly. It’s a compositional tour de force, but also a challenge for the conductor, who has to balance the sound so that the whole doesn’t become a jumble, which Payare succeeds in doing brilliantly. Constantly on his toes, he keeps everything under control. He even does the long reprise, like Labadie and Nagano’s previous versions, but which is not fashionable on disc. The timpani, hidden on the right, punctuates the phrases and ends of the sections, and provides the energy for the various climaxes. A quick note to say that the concert opened with pianist Chen’s solo performance of the Fantasy in C minor K. 475. This sombre but beautiful piece had more the air of a salon piece. Not because of the interpretation, quite the contrary, but because of the slight uproar caused by the admission to the hall of the dozens of latecomers who had arrived by bus for this school morning. No doubt listening to the same concert in the evening would have been different. But there was something beautiful about seeing and hearing the OSM’s “regulars” repeatedly questioning and taking an interest in these young people from all over, some wearing a piece of clothing bearing the effigy of their music program.

Photo Credit: Antoine Saito

art sonore / immersion

Substrat – Série sonore : IRL • Bénédicte • Michael Gary Dean & Freddy Speer

by Rédaction PAN M 360

Une expérience d’écoute exclusive et spatialisée, entre musique et art sonore, en partenariat avec le Conseil des arts et des lettres du Québec et le Conseil des arts de Montréal.
Substrat offre une expérience d’immersion sonore complète dans la Satosphère. Avec l’utilisation du son spatialisé des 93 haut-parleurs du dôme et en plongeant les spectateurs dans l’obscurité avec un minimum de distraction visuelle, l’expérience est totale.
À travers des performances musicales éclectiques, Substrat invite à découvrir la démarche créative et les univers inspirants d’artistes de la scène émergente.
Pour cette nouvelle édition, Substrat présente les œuvres de IRL, Bénédicte et Michael Gary Dean & Freddy Speer.

An exclusive, spatialized listening experience, between music and sound art, in partnership with the Conseil des arts et des lettres du Québec and the Conseil des arts de Montréal.
Substrat offers a unique sound immersion experience in the Satosphere. With spatialized sound from the dome’s 93 loudspeakers and partial darkness to accentuate the sensations, the experience is total.
Through eclectic musical performances, Substrat invites visitors to discover the creative approach and inspiring universes of artists from the emerging scene.
For this new edition, Substrat presents the work of IRL, Bénédicte et Michael Gary Dean & Freddy Speer.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de la Société des arts technologiques et est adapté par PAN M 360

métal progressif / Metalcore

Thornhill au Théâtre Fairmount

by Rédaction PAN M 360

Le groupe australien Thornhill, basé à Melbourne, crée une musique qui puise dans les sonorités du metalcore moderne, montrant ce que l’on peut faire de la musique rock et heavy rock lorsqu’il n’y a pas de frontières. Tandis que leur premier album, The Dark Pool, a touché les fans avec son mélange de riffs écrasants et de metalcore atmosphérique, leur deuxième album, Heroine, a vu Thornhill mettre en avant ses compétences dans les mondes de l’alternative et du rock, faisant référence à des influences sonores telles que The Smashing Pumpkins, Red Hot Chili Peppers, Silverchair et Deftones.

Melbourne, Australia based band, Thornhill, make music that harkens to flavors of modern metalcore, showcasing what can be made of heavy rock and rock music when there are no borders. Where their debut album, ‘The Dark Pool’ touched fans with its mix of crushing riffage and atmospheric metalcore, their sophomore album ‘Heroine’ found Thornhill flexing their skills in the alternative and rock worlds, referencing the sonic tapestry from the likes of The Smashing Pumpkins and Red Hot Chili Peppers, to Silverchair and Deftones.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

heavy metal / métal progressif / Metalcore

Machine Head & In Flames au MTelus

by Rédaction PAN M 360

Machine Head

Quatuor de heavy metal de la côte ouest des États-Unis, Machine Head a marqué le mouvement New Wave of American Heavy Metal au milieu des années 90 avec ses riffs percutants et ses grooves puissants. Le style agressif et varié du groupe, mêlant thrash, groove et nu-metal, a donné naissance à des albums contemporains majeurs comme Burn My Eyes (1994), The Burning Red (1999), Through the Ashes of Empires (2003) et The Blackening (2007). Mené par le chanteur, guitariste et seul membre permanent Robb Flynn, Machine Head a sorti son dixième album studio Of Kingdom and Crown en 2022.

A hugely influential West Coast heavy metal quartet, Machine Head’s neck-snapping riffs and earth-shaking grooves helped shape the New Wave of American Heavy Metal movement of the early mid-’90s. The band’s aggressive and wide-ranging style, which combines elements of thrash, groove, and nu-metal, has yielded seminal contemporary metal efforts like Burn My Eyes (1994), The Burning Red (1999), Through the Ashes of Empires (2003), and The Blackening (2007). Led by vocalist, guitarist, and sole constant member Robb Flynn, Machine Head released their tenth studio long-player Of Kingdom and Crown in 2022.

In Flames

Groupe suédois prolifique et influent, In Flames a contribué à établir la scène du death metal mélodique moderne et du metalcore au début des années 2000. Avec des solos de guitare néo-classiques et des arrangements innovants, le groupe est passé du death metal underground à un rôle de pionnier aux côtés de groupes comme Dark Tranquillity et At the Gates. Apparu au milieu des années 90, In Flames a connu son essor en 2002 avec la sortie de son sixième album, Reroute to Remain, aux sonorités plus proches du metal alternatif. Des albums suivants comme A Sense of Purpose (2008), Siren Charms (2014), I, The Mask (2019) et Foregone (2023) ont continué d’affiner cette formule, attirant autant la critique que le succès commercial, et valant au groupe plusieurs Grammy Awards suédois.

An influential and prolific Swedish heavy metal outfit, In Flames helped establish the modern melodic death metal scene and ensuing metalcore scenes of the early 2000s. With neo-classical guitar solos and innovative song arrangements, the group progressed from underground death metal to metal music innovators alongside contemporaries like Dark Tranquillity and At the Gates. Emerging in the mid-’90s, the band hit their stride in 2002 with the release of their more alternative metal-leaning sixth studio effort, Reroute to Remain. Subsequent offerings such as A Sense of Purpose (2008), Siren Charms (2014), I, The Mask (2019), and Foregone (2023) continued to finetune the formula, drawing both commercial and critical acclaim, and earning the band multiple Swedish Grammy Awards.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

Alternative Rock / hommage / Indie Rock

The Brokes au Théâtre Fairmount

by Rédaction PAN M 360

The Brokes est un hommage fidèle aux Strokes, joué note pour note, formé en 2022 par cinq figures incontournables de la scène musicale torontoise. Après ce qui devait être un concert unique pour Halloween, la demande pour d’autres spectacles s’est imposée d’elle-même et n’a cessé de croître. Avec un vaste répertoire couvrant tous les albums majeurs, The Brokes traversent avec précision, assurance et une énergie débordante les classiques intemporels et les morceaux cultes prisés des fans.
Chaque concert de The Brokes est une fête, une célébration non seulement du groupe de rock’n’roll le plus emblématique du XXIe siècle, mais aussi d’une époque. The Brokes sont la meilleure alternative aux véritables Strokes : chaque inflexion vocale, chaque choix vestimentaire et chaque son de guitare signature sont restitués avec une fidélité impressionnante par ce quintette torontois, capturant l’essence même du groupe new-yorkais.
Trop fauché pour voir les Strokes ? Essayez la meilleure alternative. Essayez… The Brokes.

The Brokes are a note-for-note tribute to the Strokes formed in 2022 by five mainstays of the Toronto music world. After what was to be a one-off Halloween show, demand for more was made clear and has only grown. With a deep repertoire of songs off of every major release, The Brokes weave through the timeless classics and fan favourite deep cuts of The Strokes catalogue with precision, poise, and unbridled energy.
Every Brokes show is a party and celebration of not just the most iconic rock ‘n’ roll band of the 21st century, but of an era. The Brokes are the next best thing to the real thing; with every crack of the voice, wardrobe choice and signature guitar tone, this Toronto-based fivesome brings you the subtleties and essence of NYC’s finest.
Too broke to Stroke? Try the next best thing to the real thing. Try… The Brokes.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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