Rival Sons joue du rock ‘n’ roll dans sa forme la plus pure, sans excuses ni prétention. En chemin, ils ont construit un catalogue acclamé par la critique, dont FERAL ROOTS [2019], qui a représenté un point d’orgue créatif et critique, obtenant deux nominations aux GRAMMY® pour le “Meilleur album rock” et la “Meilleure performance rock” pour le single “Too Bad”. Élevant le groupe à un autre niveau, “Do Your Worst” s’est hissé à la première place des radios rock et a été le plus grand succès du groupe à ce jour, avec plus de 60 millions de streams. En plus d’avoir partagé la scène avec Black Sabbath, les Rolling Stones, AC/DC et Guns N’ Roses, le groupe a enflammé des émissions de télévision telles que The Late Late Show with James Corden. En fin de compte, les Rival Sons ne sont pas là pour vous dire exactement ce qu’il faut penser ou ressentir, mais ils vous feront vivre une sacrée aventure si vous les laissez faire. Ce tour de manège se transforme comme jamais auparavant sur leur album complet de 2023, DARKFIGHTER, dont le coup d’envoi est donné par le single “Nobody Wants to Die”.
Rival Sons play rock ‘n’ roll in its purest form without apology or pretense. Along the way, they’ve architected a critically acclaimed catalog, including FERAL ROOTS [2019], which represented a creative and critical high watermark, scoring a pair of GRAMMY® nominations for “Best Rock Album” and “Best Rock Performance” for the single “Too Bad.” Elevating the band to another level, “Do Your Worst” vaulted to #1 at Rock Radio as their biggest hit to date, tallying north of 60 million streams. Beyond sharing stages with everyone from Black Sabbath, The Rolling Stones, AC/DC to Guns N’ Roses, they’ve ignited television shows such as The Late Late Show with James Corden. Ultimately, Rival Sons aren’t here to tell you exactly what to think or what to feel, but they’ll give you one hell of a ride if you let them. That ride twists and turns like never before on their 2023 full-length LP, DARKFIGHTER, kickstarted by the single “Nobody Wants to Die.”
Ce contenu provient de Rival Sons et est adapté par PAN M 360.
MUTEK | Nocturne 2: SAT – Twin Rising, Efe Ce Ele, Paraadiso, Animistic Belief, and more…
by Laurent Bellemare
Opening Photo By: Frédérique Ménard-Aubin
For a second night, the Société des Arts Technologiques opened its doors to Mutek 2023 for the Nocturne 2 event, showcasing a nested palette of electronic artists. With its two open performance spaces, the performances followed one another without interruption, so that it was sometimes necessary to make agonizing choices between one or other of the rooms.
Twin Rising (VJ Isotone)
// Frédérique Ménard-Aubin
Twin Rising’s mask, adorned with chains, revealed a soft, high-pitched voice, whose vulnerability contrasted with the often rough tones of the lower register. Indeed, despite a consistently harmonic framework, the undulating low frequencies marked a slow, ponderous tempo. In the heaviest moments, it was as if we were witnessing a dubstep performance as defined in the 2000s. An attentive ear could also detect deliberately asynchronous synthetic “snare drums”, creating a highly effective effect of anticipation. A balance between catchy pulsation and rhythmic deconstruction kept the audience on its toes, as did the heterogeneous visuals projected by VJ Isotone onto the satospheric dome. Between aquatic surges and granular geometry, the multicolored palette was the only thread to hold on to. In any case, these shapes went very well with Twin Rising’s music, creating a vaguely melancholy atmosphere. An excellent way to start the evening.
Efe Ce Ele
// Nina-Gibelin Souchon
Descending to the first floor, the change in atmosphere was immediately apparent. For Efe Ce Ele’s performance, the tone was decidedly darker: insistent pulsation, strobe lighting, psychedelic visuals and explicit political messages. There were echoes of techno and industrial music in this soundtrack to an anxious age. Melodically, the music evolved mainly in the low register, with occasional breakthroughs of piano, percussion and sampled vocals. More often than not, we were bathed in a complex drone of slowly modulating voices. Transitions were often articulated by superimposing sections, momentarily creating a very dense, dissonant passage.
Nadia Struiwigh
// Frédérique Ménard-Aubin
Back in a crowded Satosphere, the atmosphere created by Nadia Struiwigh was the first of the evening to be reminiscent of a rave. The experience was necessarily more physical than the others, with the Dutch artist’s music operating with consistently catchy 4/4 rhythms. Here and there, syncopations added slight echoes of drum’n’bass and breakbeat. Harmonically, held or fading chords followed each other in a simple progression. These were coupled with short, repeated melodic cells, creating an ever-present contrast of rhythmic density. Textures added to this catchy base kept the sound interesting, while the body was easily carried along by the continuous backbeats. On the visual side, artists BunBun and Alex Vlair proposed a highly successful composition. Spiral patterns, concentric circles and circular mosaics were perfectly in tune with the SAT dome.
Paraadiso
// Nina-Gibelin Souchon
Composed of artists TSVI and Seven Orbits, the Paraadiso duo delivered a much less conventional sound. The atmosphere was sometimes ethereal and consonant, and sometimes suddenly chaotic and noisy. The common denominator here was well-calculated rhythms to avoid the predictable. Strong beats were often avoided, accentuating syncopation instead. At other times, polyrhythms created highly effective phase-shifting effects. Irregular subdivisions in turn destabilized the construction of a rhythm. Overall, the duo’s sounds were abstract, closer to digital art than dance music. This experimentation was also reflected in the projections, composed of microscopic images of the natural world, which were highly processed to the point of becoming unrecognizable textures. With a rich palette of sounds, the Paraadiso duo offered a skilful performance of “music not for dancing.”
Amselysen/Racine
// Frédérique Ménard-Aubin
The Amselysen/Racine duo presented austere music, where everything was rhythm and timbre. No melody, no harmonic cues. What’s more, the pulse was drowned out by fast syncopations or fast bass drum mats. Resolutely industrial, the sound was reminiscent of Autechre in its less consonant moments. In keeping with the gray but no less exhilarating music, the visuals projected onto the dome by Diagraf were all black and white. Origami stalagmites layered with stardust were transformed into sooty nebulae. Amselysen and Racine skilfully captivated their audience despite the difficult, rigid music.
X/O
// Nina-Gibelin Souchon
Already past midnight, x/o took to the stage to present tracks from their excellent album Chaos Butterfly. This heavy music, full of contrasts thanks to dreamy vocals, reinvested many familiar musical landmarks. From IDM to metal, from dream pop to breakbeat, the Vancouver artist gave a convincing performance. Unfortunately, the vocal performance was a little too timid, and did not stand out in the sound balance. Technical problem or lack of confidence? Whatever the case, the vocals weren’t treated in a way that did full justice to the compositions, a drawback that was somewhat corrected towards the end. Nevertheless, x/o captivated their audience with ease, creating a dark atmosphere enhanced by bluish strobe lighting and hypnotic projections. One could appreciate the almost shoegaze noise flights illustrated by Japanese-drawn characters. All in all, x/o provided a moment of catharsis as heavy as it was soothing, with a well-controlled rise in intensity from one room to the next.
Kyoka
// Frédérique Ménard-Aubin
From the outset, Kyoka’s music was almost entirely inharmonic, focusing on the fullness of its sound samples and the insistence of its rhythms. The beginning of the performance was colored only by the cubist projections of BunBun and Alex Vlair. Yet, in a sudden moment of weightlessness, every trace of rhythm faded away, giving way to a long, atmospheric, harmonic passage. It was a real breath of fresh air, in an evening where the continuous pulse was king. Rhythmic, but more nuanced music with new melodic elements then emerged from this lull, bringing a sequence of euphoric variations to a close.
Animistic Beliefs
// Nina-Gibelin Souchon
It didn’t matter to Animistic Beliefs that their appearance on stage was scheduled for the early hours. The duo truly transformed the SAT into a nocturnal party, intoxicating the audience with a relentless pulse and psychedelic sounds stacked one on top of the other. Their experimental music is generated in real-time by modular synthesizer work that doesn’t pull any punches. The sound was dense, the sound was loud, and the high-pitched rough whistles assaulted the senses as much as the thundering low frequencies. The duo’s music was peppered with intriguing sonorities, from samples to vocal outbursts declaimed like a punk singer screaming into a megaphone. Animistic Beliefs are said to incorporate Southeast Asian influences into their sound, sampling Vietnamese poetry and totobuang, the gong chimes of Indonesia’s Moluccan Islands. However, this is not the kind of nuance that could have been perceived on the spot, since the duo’s show is such a smash hit. A discovery that makes you want to go and listen to their album MERDEKA (independence in Indonesian).
Eƨƨe Ran
// Frédérique Ménard-Aubin
Here’s another case where tonality was in short supply. Alternating a frantic pulse with powerful syncopated rhythms, Eƨƨe Ran had the thankless task of closing a stimulating evening. The artist’s formula might have remained a little drab were it not for the numerous misbehaviors. The Montrealer didn’t hesitate to divert his rhythmic carpet by improvising a noisy passage evoking unintelligible vocoder sounds, or by momentarily stretching or compressing the tempo. It was all about working with texture. Otherwise, the music shared that industrial coldness common to many of the evening’s artists, in which white noise is more the norm than musical note. Perhaps a little randomly, pointillist images of molecular structures and spatial nebulae were interspersed with rocky desert landscapes, all creating an atmosphere of almost nihilistic abandon to dance and decibels too many. The evening ended with a rallentando and a decrescendo into nothingness.
Après une première collaboration en 2020 avec le projet density compression, l’artiste sonore et productrice Kyoka et l’artiste médiatique Shohei Fujimoto s’associent à nouveau et livrent une performance hypnotique.
Having first collaborated in 2020 with the project density compression, sound artist and producer Kyoka and media artist Shohei Fujimoto teamed up once more with this hypnotic live set.
Alexis Langevin-Tétrault & Guillaume Côté
L’artiste interdisciplinaire montréalais Alexis Langevin-Tétrault intègre dans sa pratique la composition musicale, les technologies numériques, les arts visuels et la performance.
L’artiste sonore Guillaume Côté explore les dynamiques territoriales, linguistiques et sociales du Québec en combinant différents matériaux sonores. Sa recherche artistique se concentre sur la rencontre de l’Autre à travers une musique narrative ou informative, ainsi que sur l’abstraction offerte par les systèmes modulaires.
Montréal interdisciplinary artist Alexis Langevin-Tétrault‘s practice combines musical composition, digital technologies, visual arts and performance.
Sound artist Guillaume Côté explores Québec’s territorial, linguistic and social dynamics through a mixture of concrete, synthetic and vocal materials. His artistic pursuit focuses not only on the encounter with the Other through narrative or informative music, but also on the abstraction induced by modular systems.
Alessandro Cortini & Marco Ciceri
Les performances live d’Alessandro Cortini plongent l’auditoire dans un tourbillon de dynamiques émotionnelles au rendu complexe, où il maximise de manière experte les limites de la musique électronique contemporaine et arrive à extraire une émotion humaine du bruit synthétisé. En utilisant des murs d’équipements analogiques, le patchwork sonore de Cortini est tout autant porteur d’espoir que menaçant.
Alessandro Cortini’s live performances propel the audience into a whirlwind of intricately-rendered emotional dynamics, expertly pushing the limits of contemporary electronic music and extracting unabashedly human emotions out of synthesized noises. Born out of walls of analog equipment, Cortini’s sonic patchwork is as hopeful as it is menacing.
La série Métropolis se consacre aux formes plus rythmées et envoûtantes de musique électronique avec une scénographie dynamique. Les deux soirées sont les meilleures options pour en profiter jusqu’à l’aube tout en satisfaisant sa curiosité artistique : le vendredi soir est dédié à la musique techno alors que le samedi s’inspire des sonorités électro et house.
The Métropolis series is dedicated to the more rhythmic and spellbinding forms of electronic music, with a dynamic scenography. The two evenings are the best way to enjoy it until dawn while satisfying your artistic curiosity: Friday night is dedicated to techno music, while Saturday is inspired by electro and house sounds.
SKY H1 & Mika Oki
L’artiste sonore belge SKY H1 transcende les genres avec ses productions atmosphériques. Elle a rapidement conquis la scène musicale avec ses premiers EPs parus sur Creamcake et Codes, le sous-label de PAN. Son dernier album Azure, sorti sur AD93 en décembre 2021, est un témoignage de sa maîtrise artistique. L’album offre une fusion délicate d’expériences, de formes et de fonctions, donnant vie à un monde musical riche et ambitieux. Chaque piste transporte l’auditeur·trice entre les sphères célestes et la terre ferme, avec des basses puissantes et des mélodies captivantes. Chaque composition est une invitation à explorer les frontières de la musique électronique et à plonger dans un voyage sonore captivant. Son talent et sa créativité inépuisable en font une artiste à part entière dans le paysage musical contemporain.
Belgian sound artist SKY H1 transcends genres with her atmospheric productions. She quickly conquered the music scene with her first EPs released on Creamcake and Codes, PAN’s sub-label. Her latest album Azure, released on AD93 in December 2021, is a testament to her artistic mastery. The album offers a delicate fusion of experience, form and function, giving life to a rich and ambitious musical world. Each track transports the listener between celestial spheres and terra firma, with powerful basses and captivating melodies. Each composition is an invitation to explore the frontiers of electronic music and plunge into a captivating sonic journey. Her talent and inexhaustible creativity make her an artist in her own right on the contemporary music scene.
.VRIL
Les ambiances sonores et visuelles occupent une place centrale dans le travail de .VRIL, qui accorde une importance particulière à l’atmosphère qui en émane. Ses productions, caractérisées par des mélodies envoûtantes et une ligne de basse sombre, offrent des sets indéniablement dansants, qui ont résonné pour la première fois au Berghain en 2011. Sorti en 2014, son album Torus est devenu une référence de la dub techno grâce à la réinterprétation du style avec des notes plus expérimentales et ambient, allant des rythmes de la techno aux nappes musicales produites par un synthétiseur à table d’ondes. Son dernier album solo, Animist, sorti en mars 2023 sur Delsin Records/Amsterdam, est le fruit d’un assemblage précis de textures sonores industrielles et de rythmes répétitifs aux résonances dub. Cette variété de sonorités que .VRIL n’a de cesse de cultiver ainsi que l’attention qu’il porte à ses arrangements constituent son style unique et visionnaire.
Sound and visual ambience play a central role in .VRIL’s work, with a particular emphasis on atmosphere. His productions, characterized by haunting melodies and a dark bass line, offer undeniably danceable sets, which first resonated at the Berghain in 2011. Released in 2014, his album Torus became a dub techno benchmark thanks to its reinterpretation of the style with more experimental and ambient notes, ranging from techno rhythms to musical layers produced by a wavetable synthesizer. His latest solo album, Animist, released in March 2023 on Delsin Records/Amsterdam, is the fruit of a precise assembly of industrial sound textures and repetitive rhythms with dub resonances. VRIL’s unique, visionary style is the result of the variety of sounds he constantly cultivates and the attention he pays to his arrangements.
E-Saggila
Depuis son studio à Toronto, la DJ et productrice E-Saggila génère des compositions éclatées qui réunissent subrepticement l’intensité rythmique de la musique industrielle et les stratégies explosives de la musique de club. Ces trames profondément émotives, aux tonalités ténébreuses, cherchent à nous éveiller de notre hébétude numérique. Persuadée que les itérations musicales les plus abstraites et extrêmes influencent la culture entourant la musique de danse, E-Saggila en adopte l’éthos DIY qu’elle insuffle au cœur de la techno contemporaine.
From her studio in Toronto, DJ and producer E-Saggila generates splintered compositions that surreptitiously bring together the rhythmic intensity of industrial music and the explosive strategies of club music. These deeply emotive, tenebrously toned frames seek to awaken us from our digital daze. Convinced that the most abstract and extreme musical iterations influence the culture surrounding dance music, E-Saggila adopts the DIY ethos and infuses it into the heart of contemporary techno.
SYNC(AtomTM & Peter Van Hoesen)
Peter van Hoesen est un producteur de musique électronique, artiste de scène et artiste audiovisuel belge basé à Berlin. Ayant grandi à Anvers, il s’est intéressé à l’EBM et au New Beat avant d’explorer d’autres formes de musique en dehors de la techno. Il a créé le collectif Foton et s’est plongé dans la musique expérimentale, sortant son premier album sous le pseudonyme Object en 2001. En 2002, il sort 1025 sous le nom de RM, en collaboration avec Jeroen Baekelandt. Il a ensuite élargi ses intérêts musicaux en explorant la drum and bass et le dubstep, avant de revenir à la techno en 2006 avec l’EP Increments. Tout au long de sa carrière, Van Hoesen a lancé des labels tels que Foton, Time To Express et Center 91, et est cofondateur d’Archives Intérieures. Outre sa collaboration avec Atom™ pour le projet SYNC., il a également collaboré avec Yves De Mey sous le nom de Sendai, produisant de la musique axée sur l’exploration sonore contemporaine. Van Hoesen est connu pour son approche abstraite et basse-heavy de la techno; il a remixé de nombreux artistes et a composé de la musique pour la danse contemporaine. Il a également créé des installations et des festivals multidisciplinaires avec le collectif Foton. Depuis 2020, il a relancé son travail de création audiovisuelle en solo; sa présence artistique s’étend ainsi à différentes plateformes, créant une expérience musicale unique à chaque fois.
Peter van Hoesen is a Berlin-based Belgian electronic music producer, performance artist and audiovisual artist. Growing up in Antwerp, he became interested in EBM and New Beat before exploring other forms of music outside techno. He founded the Foton collective and immersed himself in experimental music, releasing his first album under the pseudonym Object in 2001. In 2002, he released 1025 under the name RM, in collaboration with Jeroen Baekelandt. He then broadened his musical interests by exploring drum and bass and dubstep, before returning to techno in 2006 with the Increments EP. Throughout his career, Van Hoesen has launched labels such as Foton, Time To Express and Center 91, and is co-founder of Archives Intérieures. In addition to his collaboration with Atom™ on the SYNC. project, he has also collaborated with Yves De Mey under the name Sendai, producing music focused on contemporary sound exploration. Van Hoesen is known for his abstract, bass-heavy approach to techno; he has remixed numerous artists and composed music for contemporary dance. He has also created multidisciplinary installations and festivals with the Foton collective. Since 2020, he has relaunched his solo audiovisual creation work; his artistic presence thus extends to different platforms, creating a unique musical experience every time.
La série Nocturne se déroule exclusivement à la SAT cette année avec une expérience augmentée le jeudi et le dimanche puisque les performances seront présentées sur deux étages, à la fois à l’espace SAT et sous le dôme de la Satosphère. Au programme, des créations novatrices qui réinventent les musiques électroniques, que ce soit avec des technologies avant-gardistes ou avec des instruments atypiques, le tout accompagné d’images fascinantes.
The Nocturne series takes place exclusively at the SAT this year, with an enhanced experience on Thursday and Sunday as performances are presented on two floors, both in the SAT space and under the Satosphère dome. The program features innovative creations that reinvent electronic music, whether with avant-garde technologies or atypical instruments, all accompanied by fascinating images.
Les artistes présents: Outro — Intemperie | upsammy & Jonathan Castro — Germs in a Population of Buildings | Nick León & Kaminska | Halina Rice — New Worlds | Quan & D.B.Y & Line Katcho
Outro
Outro est le projet musical du producteur et compositeur argentin Juan Barallobres, basé en Patagonie. Outro allie piano, synthétiseurs et field recording afin de créer des paysages sonores de musique électronique expérimentale à saveur dance. Au cœur de son processus, se trouve l’interaction entre musique, art sonore, art visuel, cinéma et performance. Agissant comme un collectionneur, Outro recueille les sons de personnes qu’il rencontre et des lieux qu’il traverse, puis les met en dialogue avec sa propre musique. Barallobres produit également la musique d’autres musicien·ne·s grâce à El Sello Rojo, une compagnie qu’il a fondée qui agit en tant que compagnie de disques et de série de résidences créatives. Il a participé à plusieurs évènements tels que Ted X Río de la Plata, Ciudad Emergente Festival et BAFICI (Buenos Aires Cinema Festival).
Outro is the musical project of Patagonia-based Argentine producer and composer Juan Barallobres. Outro combines piano, synthesizers and field recording to create soundscapes of experimental electronic music with a dance flavor. At the heart of his process is the interplay between music, sound art, visual art, cinema and performance. Acting like a collector, Outro gathers sounds from people he meets and places he passes through, then puts them into dialogue with his own music. Barallobres also produces the music of other musicians through El Sello Rojo, a company he founded that acts as a record label and creative residency series. He has participated in several events such as Ted X Río de la Plata, Ciudad Emergente Festival and BAFICI (Buenos Aires Cinema Festival).
upsammy & Jonathan Castro
DJ, productrice et artiste multidisciplinaire néerlandaise, upsammy (Thessa Torsing) génère des espaces interstitiels savamment construits où se côtoient, paradoxalement, confort et désolation. Reflets de sa facilité à élaborer des mélodies cristallines et des rythmes recherchés, les compositions musicales de upsammy traduisent un sentiment d’infinité et de spatialité. Elles oscillent entre différentes échelles de temps tout en retenant les échos distants d’une nature aux sonorités numérisées. Son approche audacieuse et narrative à la composition se traduit également dans ses DJ sets, lesquels puisent autant dans la musique électro psychédélique que le drum and bass et la techno expérimentales. Fascinée par les rythmes et les propriétés vibratoires de son environnement, upsammy a poursuivi des études en technologies de l’image et des médias à la Utrecht University of the Arts. En tant qu’artiste multidisciplinaire, elle explore les interactions entre le son, la photographie et la vidéo; explorations qui influencent, réciproquement, sa production musicale.
Dutch DJ, producer and multidisciplinary artist upsammy (Thessa Torsing) creates skilfully constructed interstitial spaces where comfort and desolation paradoxically meet. Reflecting her facility for crafting crystalline melodies and intricate rhythms, upsammy’s musical compositions convey a sense of infinity and spatiality. They oscillate between different time scales while retaining the distant echoes of nature’s digitized sounds. Her bold, narrative approach to composition is also reflected in her DJ sets, which draw as much on psychedelic electro music as experimental drum and bass and techno. Fascinated by the rhythms and vibratory properties of her environment, upsammy studied image and media technology at the Utrecht University of the Arts. As a multidisciplinary artist, she explores the interactions between sound, photography and video, which in turn influence her musical production.
Anatohl est le nom d’artiste du producteur de musique électronique, guitariste et DJ français Anatole Michaud. Désormais basé à Montréal, il est aussi co-gérant de Kizi Garden Records.
Anatohl is the stage name of French electronic music producer, guitarist and DJ Anatole Michaud. Now based in Montréal, he also co-manages Kizi Garden Records
StMichel fait son retour sur scène, cette fois accompagné de synthétiseurs, pour présenter une version live de son album Données Sensibles. Au cours de cette performance, il explore les diverses nuances de sa musique électronique, envoûtant le public avec une techno magnétique, des textures synthétiques et des sonorités house champ-gauche.
Accompanied by an array of synths, StMichel returns to the limelight to present a live version of his acclaimed album Données Sensibles. Throughout this performance, he’ll explore the many nuances of his signature brand of electronic music, mesmerizing the audience with enthralling Techno, synthetic textures and leftfield House sounds.
Hellgrammite travaille sur sa musique depuis plus de cinq ans, développant un son unique en utilisant des instruments digitaux et analogues tels que des synthétiseurs, des samplers et des instruments électroniques modifiés.
Hellgrammite have been working on music for over five years, developing their unique sound using both digital and analog hardware such as synthesizers, samplers and circuit-bent electronics.
Ura est le principal alias du producteur de musique électronique canadien Zac MacArthur. Bien que ses productions précédentes participent de la scène expérimentale/électronique/ambient, ses compositions n’adhèrent pas à un style ou à un genre défini. Son approche idiosyncrasique au son évolue avec fluidité entre des influences minutieusement sélectionnées, créant ainsi des compositions uniques, et pourtant familières, qui reflètent une compréhension aiguë de la musicalité.
Ura is the primary alias of Canadian electronic music producer Zac MacArthur. Ura’s previous releases have situated him within the experimental/electronic/ambient scene, however his productions do not strictly adhere to style or genre. Ura’s idiosyncratic sound moves fluidly between obsessively curated influences to create unique yet familiar compositions with a strong sense of musicality.
Nadia Struiwigh
La pratique de Nadia Struiwigh est bien ancrée dans sa vie de tous les jours. Depuis 2009, l’artiste néerlandaise s’est bâtie un corpus de pièces documentant ses états et inspirations du moment, grâce à des sessions d’enregistrement quotidiennes. Le processus donne à son travail une sensation d’intimité et de spontanéité.
Nadia Struiwigh‘s practice is deeply rooted in her daily life. Since 2009, the Dutch musician has, through daily recording sessions, built a corpus of songs that reflected her changing moods and inspirations. Her process taints her work with a sense of closeness and spontaneity, as you imagine the ebb and flow of her emotions and the various life events seeping through her improvisations like a poetic life distillate. On imagine les marées émotionnelles et les divers aléas de la vie s’immisçant dans ses improvisations comme un concentré de vie poétique.
À l’occasion de sa 24e édition, le Festival MUTEK est de retour dans le dôme de la Société des arts technologiques [SAT] pour la Série Satosphère, un programme d’œuvres et performances immersives explorant de nouveaux territoires conceptuels et sensoriels.
Au programme: une exploration de la dualité entre l’analogique et le numérique (Metaract); un voyage surnaturel pour redécouvrir la transcendance de la nature (Iwakura); une immersion dans un rituel sacré d’union spirituelle (Union); une ouverture vers un monde spatio-temporel inclusif (I want to leave this Earth behind); et une expérience sensorielle autour de la physique quantique (Entanglement).
For its 24th edition, the MUTEK Festival returns to the dome of the Society for Arts and Technology [SAT] for the Satosphère Series, a program of immersive works and performances exploring new conceptual and sensory territories.
On the program: an exploration of the duality between analog and digital (Metaract); a supernatural journey to rediscover the transcendence of nature (Iwakura); immersion in a sacred ritual of spiritual union (Union); an opening onto an inclusive space-time world (I want to leave this Earth behind); and a sensory experience based on quantum physics (Entanglement).
Stefana Fratila & Diana Lynn VanderMeulen
Stefana Fratila est une artiste, compositrice et conceptrice sonore d’origine roumaine basée à Toronto au Canada. Elle est également DJ et cofondatrice du collectif Crip Rave™, une plateforme événementielle mettant de l’avant et priorisant les personnes “Crip, handicapé·e, sourd·e, fou·folle et malade” [formulations fournies par l’auteure] au sein d’espaces rave accessibles et sécuritaires. Elle a créé Sononaut, une collection de 8 plug-ins VST open-source reproduisant les conditions atmosphériques des planètes de notre système solaire, en collaboration avec des scientifiques de la NASA et Jen Kutler. Elle a exposé son travail et performé dans le monde entier, notamment au MoMA et à e-flux (New York, États-Unis), à Ars Electronica (Linz, Autriche) et au Symposium international sur l’art électronique (Paris, France). Elle a également remporté le Canadian Screen Award pour le meilleur montage sonore (2022) et ses trames sonores ont été présentées au Festival international du film de Toronto, au New York Film Festival, au Festival du nouveau cinéma de Montréal, au Centre Pompidou et à la Biennale de Vienne.
Diana Lynn VanderMeulen est une artiste multidisciplinaire qui réside et travaille à Toronto, au Canada. Sa pratique artistique se situe à la croisée des médias analogiques et numériques, avec une focalisation sur la réalité étendue et l’utilisation cyclique des matériaux, avec l’intention de créer des environnements expansifs et multisensoriels. Son projet en réalité étendue intitulé A Boundless and Radiant Aura a récemment été présenté en avant-première avec Debaser à la SAW Gallery d’Ottawa, ainsi qu’à la galerie Toutoune de Toronto. Parmi ses œuvres récentes figure une exposition en solo, à la fois physique et virtuelle, intitulée “Shimmer of a Petal, Now a Mountain Stream”, réalisée en collaboration avec Sky Fine Foods & ArtGate VR. Elle a également créé et auto-édité l’application en réalité augmentée “Swampy GoGo”, qui étend les réalités numériques à partir d’une série de paysages en techniques mixtes en 2D. En plus de sa collaboration avec Sky Fine Foods, VanderMeulen a participé à de nombreux projets publics et initiatives DIY. Elle a exposé ses œuvres à l’AGO, à l’Ambassade du Canada à Tokyo (Japon), au CADAF Paris, au Musée Gardiner et à l’Idea Exchange.
I want to leave this Earth behind est une performance immersive A/V en direct, spécialement formatée pour le système sonore multicanal de Satosphère et les projecteurs à 360 degrés. La performance est centrée sur l’exploration de l’espace, les réalités spéculatives et fictives et la futurité Crip, engageant le public dans un exercice immersif d’imagination d’atmosphères interplanétaires et sci-fantastiques – des conditions qui sont intrinsèquement invivables, irrespirables, convertissant tous les corps-esprits humains en corps-handicapés.
Stefana Fratila is a Romanian-born artist, composer and sound designer based in Toronto, Canada. She is also a DJ and co-founder of the Crip Rave™ collective, an event platform featuring and prioritizing “Crip, disabled, deaf, crazy and sick” people [wording supplied by author] within accessible and safe rave spaces. She created Sononaut, a collection of 8 open-source VST plug-ins reproducing the atmospheric conditions of the planets in our solar system, in collaboration with NASA scientists and Jen Kutler. She has exhibited and performed worldwide, including at MoMA and e-flux (New York, USA), Ars Electronica (Linz, Austria) and the International Symposium on Electronic Art (Paris, France). She has also won the Canadian Screen Award for Best Sound Editing (2022), and her soundtracks have been presented at the Toronto International Film Festival, the New York Film Festival, the Festival du nouveau cinéma de Montréal, the Centre Pompidou and the Vienna Biennale.
Diana Lynn VanderMeulen is a multidisciplinary artist living and working in Toronto, Canada. Her artistic practice lies at the crossroads of analog and digital media, with a focus on extended reality and the cyclical use of materials, with the intention of creating expansive, multisensory environments. His extended-reality project A Boundless and Radiant Aura recently premiered with Debaser at Ottawa’s SAW Gallery, as well as at Toronto’s Toutoune Gallery. Recent works include a solo exhibition, both physical and virtual, entitled “Shimmer of a Petal, Now a Mountain Stream”, produced in collaboration with Sky Fine Foods & ArtGate VR. She also created and self-published the augmented reality app “Swampy GoGo”, which extends digital realities from a series of 2D mixed media landscapes. In addition to her collaboration with Sky Fine Foods, VanderMeulen has participated in numerous public projects and DIY initiatives. She has exhibited her work at AGO, the Canadian Embassy in Tokyo (Japan), CADAF Paris, the Gardiner Museum and Idea Exchange.
I want to leave this Earth behind is an immersive live A/V performance, specially formatted for Satosphère’s multi-channel sound system and 360-degree projectors. The performance focuses on space exploration, speculative and fictional realities and Crip futurism, engaging the audience in an immersive exercise in imagining interplanetary and sci-fantasy atmospheres – conditions that are inherently unlivable, irrespirable, converting all human body-minds into disabled bodies.
Elegance On A Nudist Beach : Lancement d’album à la Casa del Popolo
by Rédaction PAN M 360
Elegance On a Nudist Beach est le premier album éponyme enregistré par Dom Hemalas, un multi-instrumentiste libano-canadien basé à Montréal. Il a écrit et interprété tous les instruments et les voix, et a mixé et masterisé l’album tout seul. Pourquoi ? Parce qu’il voulait relever le défi !
Alors que l’environnement mondial changeait au début de la pandémie, Dom a décidé de transformer la crise en opportunité et d’enregistrer les chansons qu’il avait écrites dans le passé et plus récemment, permettant ainsi à son amour du processus créatif et de la production musicale de briller pleinement pour que le monde entier puisse le voir.
Elegance On a Nudist Beach is the self-titled debut album effort recorded by Dom Hemalas, a Lebanese Canadian multi-instrumentalist based in Montreal. He wrote and performed all the instrumentals and vocals and mixed and mastered the album on his own. Why? He was excited by the challenge!
As the global environment shifted at the onset of the pandemic, Dom decided to turn crisis into opportunity and record the songs he’d written in the past and in more recent times, allowing his love of the creative process and music production to shine fully for the whole world to see.
Ocean Alley, le groupe de rock psychédélique-surf adoré de l’Australie, a passé la dernière décennie à se créer une voie unique en tant que groupe fièrement indépendant, leur vision et leur son étant guidés uniquement par leur instinct et leur passion. Le groupe a débuté à la troisième place du classement des albums ARIA avec son troisième album Lonely Diamond (2020), qui a été nommé par les ARIA et qui a reçu des critiques quatre étoiles de la part de NME Australia et de Rolling Stone Australia. L’album fait suite au succès de Chiaroscuro en 2018, qui a propulsé le groupe sur le devant de la scène nationale, avec le single ” Confidence “, doublement vendu en platine, qui s’est hissé à la première place du Hottest 100 de triple j en 2018.
Australia’s beloved psychedelic-surf-rockers Ocean Alley have spent the past decade creating a unique lane for themselves as a proudly independent band, their vision and sound guided solely by their instinct and passion. The band debuted at #3 on the ARIA Album Chart with their ARIA-nominated third album Lonely Diamond (2020), garnering four star reviews from the likes of NME Australia and Rolling Stone Australia. The album followed the success of 2018’s Chiaroscuro which propelled the band into national prominence with the double platinum-selling single ‘Confidence’ taking out #1 in triple j’s Hottest 100 of 2018.
Ce contenu provient de Lonely Lands Agency et est adapté par PAN M 360.
MUTEK 2023 | Satosphère 2 : UNION — Nancy Lee & Kiran Bhumber
by Alain Brunet
Photo credit: Ash KG
Here’s a summary of this 25-minute work, part of the Satosphère program on August 23 at MUTEK: “UNION is an immersive narrative that tells the story of two beings discovering their ancestral memories through the desire for touch and the rituals practiced during their post-apocalyptic wedding ceremony.”
Nancy Lee and Kiran Bhumber have imagined their story as an artistic illustration of their diasporic identities. Their aim is to “unveil and reconstitute cultural memory through the sacred ritual of spiritual union and physical intimacy”. In other words, this spiritual union cannot function smoothly if the strains of its actors are not identified, understood and integrated.
The immersion proposed here is based on abstract images projected onto a dome: shimmering colors mingle on the concave screen, giant hands whirl around, suspended humanoid busts, deposits of gems, two flesh-and-blood women sketching short choreographies, an evocation of post-apocalyptic marriage.
In terms of sound, the soundtrack includes a brief narration of this fictional story and offers the ear a series of electronic effects typical of this type of immersion: synthesized percussion, industrial sounds, and electroacoustic processes generally familiar to dome immersion enthusiasts. The sound quality is also exemplary.
In short, the abstraction of this work outweighs its background, the aesthetic coherence of this work needs to be perfected, the integration of forms and sounds testifies to an art that is still exploratory and above all interesting for its fragmentary effects and not for their integration into an integrated whole.
This is a recurring problem with immersive works that include sound and images: a fascination with these new creative tools rarely leads to an integrated aesthetic, and we contemplate their technological advances without being marked by a total work.
MUTEK 2023 | Experience 2 : Airhaert, Dawn To Dawn, The Mole
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!
Photo credits : Frédérique Ménard-Aubin
Airhaert
Airhaert doesn’t so much crowd the stage as she fills it, like a cloud of smoke. Her music, like her, finds its source in the depths of the earth, and seeks to bring us back to it. Between trip-hop rhythms, ambient techno and draped vocal passages reminiscent of Grouper, the meditative, spiritual aspect of the project is heard and felt. The voice is used as a stream of celestial energy flowing through the otherwise dark space of the music. I imagine ghosts of a phrase, a thought, long forgotten in the depths of being, deconstructed perhaps in form, but having acquired a whole new meaning. These voices are texture, they are a stream, and it’s tempting to let them enter us for how they might affect our currents, hot and cold, uncertain and obsessed. Because, after all, water is a sure current that always finds its way.
Airhaert’s recent album, I. I. (for Intuitive Intelligence) is an exploration of the depths of Being, a hypnotic, meditative, grounded and introspective experience that seeks to explore the notion of therapeutic music. On stage, the album seems to take a few spontaneous turns, no doubt at the whim of the moment and the lure of the buttons, wheels and indicators that surround the artist. Despite the improvisation and the few harder-cut transitions it brings, we can still lose ourselves in the music, or… in ourselves!
Dawn to Dawn
Dawn to Dawn is a trio made up of Montreal singer Tess Roby, along with Patrick Lee and Adam Ohr. Together, they possess that twilight electro sound which caresses the ears and seems perfect for imagining a high-speed nocturnal stroll through a futuristic, neon-lit cityscape.
Borrowing from pop structures, their style is clean and effective. The synths are round and glistening, like clouds at dusk, while the bass and percussion, with their techno and breakbeat accents, are predominant. Tess Roby’s voice is soaring, dancing lightly in the fine light of the landscape they conjure.
Towards the middle of the show, the songs rise in energy and tempo. Roby’s voice, performing from the front of the stage, soars with the music. This trio may not be the flashiest, but sometimes we like having the lights dimmed. Dawn to Dawn’s music is like that: warm, light and appealing, like distant lights on a summer’s night. The ones that remind us we’re not alone.
The Mole
After more than 20 years in Berlin, The Mole, aka Colin de La Plante, is back in Canada.
The man who made his name in Montreal as a DJ in the 2000s offers a sample-heavy proposal. Cut-up vocals, excerpts from instrumental breaks, bits of lyrics, all these flow together in a sound space built block by block and with great care. His “Go Wiggle!” project, which he presents on the Esplanade Tranquille stage, is based on lyrics from Parliament-Funkadelic.
In his performance, Colin de La Plante weaves together the different parts of his musical presentation with fades. Rhythms enter while others leave, a new melody overtakes the previous one, and, gradually, new sounds are integrated, to the point where we no longer remember what was coming out of the loudspeakers a few minutes earlier.
Working partly with vinyl, de La Plante is definitely searching for a retro aesthetic. The proposition remains fairly conventional and doesn’t get too experimental. Instead, each piece unfolds slowly and meticulously, revealing a sensitivity as well as an instinct for progression on the artist’s part, who leaves us time to notice the changes, fluctuations and disruptions he engenders. All in all, this becomes a show that has a good groove, and which manages to be pleasantly varied and spellbinding.
