Montréal

Electro / Experimental Techno

MUTEK : Satosphère 3

by Rédaction PAN M 360

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.

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

Psych-Rock / Rock / Soul

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.

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Ce contenu provient de Elegance on a Nudist Beach et est adapté par PAN M 360.

psychédélique / Rock / Surf

Ocean Alley au Théâtre Beanfield

by Rédaction PAN M 360

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.

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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.

FORUM MUTEK JOUR 2 | Confronting the Future of Artificial Intelligence

by Elsa Fortant

At its inception, the MUTEK Forum was held 6 months before the festival. In 2018, the two events have been grafted together, offering a unique perspective on digital creativity. Programmed by Sarah Mackenzie and hosted by Claudine Hubert, the 9th edition is entitled “Courants d’avenir” and will be held all week long at Les 7 doigts de la main. MUTEK offers us the chance to delve into a wide range of contemporary themes: the relationship between culture, technology and the climate crisis; accessibility and inclusion within immersive technologies; the power of tech; art, governance and artificial intelligence; and the future of festivals. Here’s a report on the second day’s main conference, which focused on artificial intelligence.

Crédits photos : Maryse Boyce

Conference

Shifting narratives of AI : confronting tech’s power

Sarah Myers West – AI Now Institute

“We are at a moment when critical work must not be reduced to worst-case scenarios, but can be firmly rooted in its origins, in the possibility of an alternative vision of a world where small-scale democracy is possible.”

Sarah Myers West’s words struck a chord. Her message is clear: artists and creative workers have an essential role to play in addressing the issues raised by artificial intelligence (AI) and in shaping the world we want to live in.

AI is a hot topic, and the term is becoming overused, as the researcher reminds us, starting by questioning the appellation itself. The term artificial intelligence is often used as a marketing tool. It’s a “floating signifier” filled with ideas and visions, detached from a material and above all technical reality. In other words, we lend AI powers it doesn’t necessarily have. A whole imaginary world has been created around it, largely nourished by the great works of science fiction.

Artificial intelligence is also a term sometimes used to refer to applied statistics and linear regression. Then, Sarah Myers West quotes the definition of AI given by American AI ethics researcher Meredith Whittaker. This technology, since it is fed by user data and used commercially, can also be defined as a form of surveillance by-product. In this respect, it’s important to point out that not only are companies lacking in transparency about the provenance of the data they use to train AI models, disregarding issues of copyright and intellectual property.

Faced with the rise of AI and, above all, the desire of companies to develop these models on a large scale – which causes environmental and discriminatory problems and affects workers – Sarah Myers West reminds us that there are other possible trajectories.

Meaningful change requires tackling different forms of advantage:

  • The data advantage: information asymmetry between companies and the public
  • The computational advantage: dependence on infrastructure, hardware and software
  • The geopolitical advantage: framed by (the absence of?) regulation, and governments that support the development of AI as a strategic and economic asset

Going beyond the regulatory framework of public policies

Negotiations to regulate AI in the USA, Canada and the European Union are underway, but for the time being, safety is a priority, rather than the issue of algorithmic bias and discrimination. To date, we still lack information on the data used to train models like GPT-4, and Sarah Myers West reminds us that we can’t take companies at their word when they tell us they know what they’re doing. So far, they’ve proved that they’re ready to market their technologies even if they’re not.

Mechanisms need to be put in place to hold companies accountable for their actions. And the Frontier Model Forum, “a new industry body to promote the safe and responsible development of cutting-edge AI systems” launched by Anthropic, Google, Microsoft and OpenAI, isn’t enough.

How can we take action and make our voices heard? We need to confront the concentration of corporate power and get organized, says Sarah Myers West. Workers, creative workers and artists are at the heart of the resistance to these tech giants. They are in a position, collectively, to create leverage to ensure that AI is not used to devalue their work. The most recent strike by WGA authors is an example of this struggle.

Not wanting to hear about AI is one thing, but what’s certain is that the train has left the station and you’d better be ready to ride it, to be able to act collectively.

Breakbeat / Electronic / House

MUTEK : Expérience 3 – Skesa, Husa & Zeyada, Lowfish et Mika Oki b2b upsammy

by Rédaction PAN M 360

Des airs de house et de techno décontractés avec des textures organiques et des percussions complexes, c’est la recette de musique dance spéciale du producteur Montréalais Skesa. Cérébral, technique, avec des mélodies abstraites et des beats groovy, les rythmes polis et sophistiqués de Skesa sont hautement addictifs.

Laid back house and techno vibes with organic samples and intricate percussions, that’s Montreal-based Skesa‘s special blend of dance music. Cerebral, technical, with abstract melodies and groovy beats, Skesa’s rhythms and anthem-like general feel are addictive.

C’est sur la scène extérieure de MUTEK que Husa & Zeyada défendront les pièces qui composent leur album Long Way Home. Bien que ses racines musicales soient ancrées dans la house et la techno, Adam Husa transcende les barrières liées au genre en mettant l’accent sur des grooves inquiétants et des mélodies profondes ; un rythme minimaliste de percussions serrées avec une ligne de basse légère qui s’accorde parfaitement avec les voix superposées de Zeyada.

Husa & Zeyada will champion tracks from their album Long Way Home on MUTEK’s outdoor scene. Though he traces his musical roots back to House and Techno, Adam Husa transcends genre boundaries by focusing on ominous grooves and deep melodies, minimalist rhythms of tight percussion with delicate basslines flawlessly tuned to Zeyada’s layered vocals.

Le nouveau set live de Lowfish, présenté en première mondiale à MUTEK, combine des percussions 808 implacables aux harmonies de synthétiseurs caractéristiques du producteur canadien et à des échantillons fortement manipulés. Parfois sombres, souvent mélodiques et accrocheurs, les morceaux de Lowfish s’efforcent toujours d’être intemporels et de qualité.

Premiering at this year’s MUTEK, Lowfish’s latest live performance combines punishing 808 drums with the Canadian producer’s signature synth harmonies and highly-manipulated samples. At times moody, often melodic and catchy, Lowfish’s tracks forever strive to be refined and timeless.

Les DJ, productrices et artistes multidisciplinaires Mika Oki et upsammy se réunissent pour la première fois pour un dialogue rythmique qui promet d’être percutant et irrésistible !

DJs, producers and multidisciplinary artists Mika Oki and upsammy join forces for the first time in a rhythmic dialogue that promises to be powerful and irresistible!

GRATUIT!

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

Ambient / Experimental / Contemporary

MUTEK : Play 1 – Erin Gee et Iza Smelczyńska

by Rédaction PAN M 360

La psyché est un matériel brut. Inspirée par le ASMR (ou Réponse Sensorielle Méridienne Autonome), Erin Gee, artiste de performance et compositrice canadienne vivant à Tio’tia:ke/Montréal, utilise des déclencheurs émotionnels afin de créer des réactions en chaîne dans le corps. Elle chuchotte, tapotte et chante dans le but de provoquer une réponse physiologique chez l’auditeur·trice. 

The psyche is a raw material. Inspired by the online phenomena of Autonomous Sensory Meridian Response (ASMR), Erin Gee, a Canadian performance artist and composer based in Tio’tia:ke/Montréal, uses psychological triggers to create chain reactions in the body. She whispers, taps, and sings to provoke physiological responses.

Iza Smelczyńska est une artiste sonore, une compositrice et une musicologue basée à Varsovie, dont la pratique relève de la musique expérimentale et d’avant-garde. Fascinée par les qualités propres au son, elle s’intéresse à l’enregistrement de bruits quotidiens comme inhabituels et à la conception d’instruments électroacoustiques à partir desquels Smelczyńska élabore ses compositions sonores.

Iza Smelczyńska is a composer, sound artist and musicologist based in Warsaw whose practice revolves around avant-garde and experimental music. Fascinated by the infinite qualities of sound, she is interested in recording sounds that are both typical of daily life and unfamiliar, as well as inventing new electroacoustic devices. These activities are intrinsic to shaping her musical compositions.

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

Ambient / Electronic / Experimental / Contemporary / IDM / Industrial

MUTEK : Nocturne 2

by Rédaction PAN M 360

Efe Ce Ele

Musicienne, productrice et artiste transmédia, Efe Ce Ele est reconnue pour sa pratique pluridisciplinaire à teneur cinématographique, alliant le corps, le son, l’image, les sciences et la technologie.

As a musician, producer, and transmedia artist, Efe Ce Ele is known for her interdisciplinary and cinematographic performances, which merge the realms of the body, sound, image, science, and technology.

Paraadiso

En réaction à l’isolement croissant des dernières années, TSVI et Seven Orbits s’associent pour créer le projet Paraadiso. Leur premier album, Unison, est sorti en 2021 sous le label SVBKVLT.

TSVI and Seven Orbits created Paraadiso as a counter-response to the increased isolation of these last few years. Their debut album, Unison, was released in 2021 by the label SVBKVLT.

x/o

x/o est le projet de Veron Xio, producteur·trice de musique électronique, cinéaste, artiste de performance et d’arts visuels.

x/o is the project of Veron Xio, a Vietnamese-Canadian electronic music producer, performer, filmmaker and visual artist.

Animistic Beliefs & Jeisson Drenth

Animistic Beliefs, le duo qui combine le renouveau des raves néerlandaises avec des sonorités issues de leur patrimoine d’Asie du Sud-Est, en collaboration avec Jeisson Drenth autour du projet CACHE/SPIRIT.

Duo Animistic Beliefs, weaving Dutch rave revival sounds with those drawn from their Southeast Asian heritages, collaborates with Jeisson Drenth to form the CACHE/SPIRIT project.

Twin Rising

Tomas Furey (Twin Rising) est un musicien formé au piano classique et en composition électroacoustique dont les nombreuses collaborations varient de la danse contemporaine au cinéma.

Tomas Furey (Twin Rising) is a musician trained in classical piano and electroacoustic composition, whose many collaborations range from contemporary dance to cinema.

Isotone

Fondé à Montréal en 2018, Isotone est composé de Bar Rubinstein, Lilian Guiran, Hugo Fournier et Félix Bonjour. D’une intention comme direction, d’un point vers une forme, de la technologie vers l’émotion, Isotone explore des océans numériques à la recherche de nouveaux horizons créatifs.

Isotone Studio was co-founded in 2018 by the four audiovisual artists Bar Rubinstein, Lilian Guiran, Hugo Fournier and Félix Bonjour. The intention as direction, from a point to a shape, from technology to emotions, Isotone dives into the digital worlds seeking for new creatives horizons.

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.

BunBun & Alex Vlair

BunBun est un·e VJ basé·e à Montréal dont le style est décrit comme étant très coloré, ultra-texturé, rythmé et holographique. Il performera aux côtés d’Alex Vlair, artiste visuel 3D et VJ spécialisé dans le contenu 3D prêt en temps réel. 

BunBun is a Montréal-based VJ whose style is best described as brightly hued, ultra-textured, beat-synced, and holographic looking. He will be accompanied by Alex Vlair a 3D Visual Artist and VJ specializing in real-time ready 3D content. 

Amselysen & Racine

Sous le pseudo d’Amselysen, Hakeem Lapointe explore et expérimente le contenu et la forme de tous les genres, pour ensuite les réinventer dans une approche électronique novatrice. Julien Racine, connu simplement sous le nom de Racine, est un compositeur, ingénieur de son et producteur basé à Montréal.

As Amselysen, Hakeem Lapointe explores and experiments with the content and form of any and all genres, repackaging them through an innovative electronic approach. Julien Racine, known simply as Racine, is a Montréal-based composer, sound engineer and producer.

Diagraf

Avec une perspective de cinéaste sur les thèmes visuels et la narration, Diagraf combine une esthétique minimaliste et des graphiques évolutifs complexes avec un contenu cinématographique émotif. 

With a filmmaker’s perspective on visual thematics and narrative, Diagraf combines minimalist aesthetics and complex evolutive graphics with emotive cinematic content.

Kyoka


Kyoka est une artiste japonaise du son et de l’installation, productrice de musique électronique et DJ basée à Berlin, dont la pratique est constamment renouvelée par l’expérimentation. 

Kyoka is a Japanese sound and installation artist, electronic music producer and DJ based in Berlin whose practice is constantly renewed by explorations and experiments. 

Eƨƨe Ran

Eƨƨe Ran est un compositeur et producteur de musique électronique expérimentale basé à Montréal, au Canada. Sa pratique repose sur une exploration de la synthèse sonore et donne naissance à une techno industrielle obscure où rythmes et textures se rencontrent. 

Eƨƨe Ran is an electronic music experimentalist and techno producer based in Montréal, Canada. His practice builds upon meticulous synthesis and sound treatment and gives rise to an obscure industrial techno where both rhythms and textures share a common ground. 

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

Jazz

Al McLean Quartet au Dièse Onze

by Rédaction PAN M 360

Natif de Victoria, en Colombie-Britanique, Al McLean habite la ville de Montréal depuis 1995. Depuis 2002, il enseigne le saxophone à l’Université McGill. Parmi ses expériences professionnelles significatives, il a fait partie du quartet Brian Hurley et du sextet Joe Sullivan. Avec le Vic Vogel Big Band, il a joué comme soliste. Avec le Joe Sullivan Big Band, il a agit à titre de compositeur et arrangeur. Il a joué et avec un nombre considérable de musiciens provenant d’univers musicaux différents tels que : Susan Anton, Offenbach, Herb Ried, Boule Noir, Lenny White, Tyler Mitchell, George Garzone et Slide Hampton. Pour son premier enregistrement titré «Personnel Transit», Al consolide son enracinement au jazz acoustique. Les célèbres improvisations d’Al ont été décrites comme “a fluid, masterful account of the entire lineage of the tenor saxophone”.

A native of Victoria, British Columbia, Al McLean has resided in Montreal since 1995.  He is a sought-after freelance saxophonist, and professor saxophone at McGill University. Al McLean is long time member of the Brian Hurley Quartet, Joe Sullivan Sextet, Josh Rager Sextet, and featured soloist, composer, and arranger for the Joe Sullivan Big Band, and the Vic Vogel Big Band, and has performed and recorded worldwide with countless artists of every style of music, including Susan Anton, Offenbach, Herb Ried, Boule Noir, Lenny White, Tyler Mitchell, George Garzone, and Slide Hampton.Al has fortified his roots in acoustic jazz with his first and long-awaited quartet recording “Personal Transit”, to be released on September 19th, 2008. Al McLean’s improvisations have been described as “a fluid, masterful account of the entire lineage of the tenor saxophone”.

RÉSERVATIONS PAR TÉLÉPHONE AU  514-223-3543

Ce contenu provient du Dièse Onze et est adapté par PAN M 360.

Folk / Indie Pop

Bayta, Claudelle et Olivia Khoury à la Casa del Popolo

by Rédaction PAN M 360

Bayta est le projet solo de Mariève Harel-Michon. Mariève a grandi à l’ouest des deux îles (Laval et Montréal), où sa passion pour la musique et la philosophie s’est installée mystérieusement dans son cœur. Ce fut sûrement entre les gares Sunnybrooke et Roxboro, ou bien à la pause dîner de sa job d’été plate (commis de bureau pour une compagnie de construction). 

Originaire des Laurentides, Claudelle est une auteure-compositrice-interprète autodidacte. Active sur la scène musicale depuis 2012, elle s’est démarquée en faisant plusieurs concours tel que le Festival international de la chanson de Granby (demi-finaliste) et Chante en français (finaliste) en plus de faire plusieurs premières parties comme celles de Joseph Edgar, Pascale Picard, Saratoga. 

Olivia Khoury est une chanteuse, compositrice et artiste interdisciplinaire montréalaise, mêlant principalement danse et musique. Olivia charme le public avec sa poésie imagée et sa voix envoûtante. Sa musique métissée prend ses racines du jazz, du folk/indie et même des rythmes latins. Ses pièces riches en textures sonores sont inspirées de paysages lointains et de souvenirs de voyage.

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de Bayta, Pop Montréal et Olivia Khoury et est adapté par PAN M 360.

FORUM MUTEK DAY 1 | New horizons : digital creation and curation

by Elsa Fortant

At its inception, the MUTEK Forum was held 6 months before the festival. In 2018, the two events have been grafted together, offering a unique perspective on digital creativity. Programmed by Sarah Mackenzie and hosted by Claudine Hubert, the 9th edition is entitled “Future currents” and will be held all week long at Les 7 doigts de la main. MUTEK offers us the chance to delve into a wide range of contemporary themes: the relationship between culture, technology and the climate crisis; accessibility and inclusion within immersive technologies; the power of tech; art, governance and artificial intelligence; and the future of festivals. PAN M 360 reports on the first day.

Photo credits : Maryse Boyce

Opening talk – Festivals as radical rituals

Frankie Decaiza Hutchinson – founder of Dweller and cofounder of Discwoman

As programmer of the Bossa Nova Civic Club in Brooklyn, Frankie Hutchinson had a front-row seat to observe the impact of the electronic music industry on the expression of black artists and people, i.e. a lack of space and visibility. It particularly struck her when an artist approached her to organize a special event for Black History Month. Why limit yourself to one event, one week, one month? So naturally, she ended up taking the lead and creating a space for electronic talent from black communities to express themselves, in the form of Dweller, a DIY festival, launched in 2018.

Quickly becoming a “ritual” offering the necessary space for a form of individual and collective catharsis, Dweller has grown to the point of going international with an event at the famous Berghain (Berlin) and programming headliners such as Jeff Mills. With this expansion comes questions: how do you grow without sacrificing the intimacy of your events? How can we develop our audience without losing our curatorial perspective? And, of course, how to ensure its sustainability and financing? At Dweller, financing is largely based on merchandising, and the community can meet and connect in other ways on a blog, Dweller Electronic, which has a political dimension. These are all interesting reflections for thinking about the development of independent events, imagining the future of festivals and their community roots.s, qui comporte une dimension politique.

Panel – Future Festivals : Forging new horizons

Maurice Jones, moderator; Jasmin Grimm, NEW NOW Festival ; David Lavoie, FTA; Naomi Johnson, imagineNATIVE Film | Media Arts Festival

Introduced by Maurice Jones of Future Festivals Lab, the aim of the discussion was to question the power of festivals. The discussion began with a round table on the challenges faced by festivals during the pandemic and the post-pandemic period.

David Lavoie of Festival TransAmériques was one of the 16 initiators of the open letter “Attention, festivals fragilisés” published in February 2023 in Le Devoir. The signatories joined forces to highlight their fragility and the issues they share, mainly the mental health of employees, the maintenance of events and their terms and conditions. The coverage of this letter enabled them to make their voices heard and initiate discussions with the government.t.

For Naomi Johnson, the priority was to pay the artists, which led to an evolution in the festival’s mission to become a content producer. In addition, experimentation with video-on-demand has enabled them to develop their audience. Naomi Johnson also laments the loss of institutional knowledge when there is a departure in the team, which makes the task of getting back to “where we were before” all the more difficult.

As for the NEW NOW Festival, the change was quite radical, as the annual event became biennial, the only way for Jasmin Grimm and her team to stay healthy. Like other festivals, they’ve had to contend with inflation, worker shortages and, above all, the climate issue. NEW NOW is held on the site of Europe’s largest former coal mine, Zollverein, in Essen (Germany). This historic site has been a UNESCO World Heritage Site since 2001. The site’s past and present use inevitably makes us reflect on the climatic consequences of yesterday’s industrial activities and today’s events. For this reason, the festival has taken up the theme of climate change and offered workshops on self-sufficiency to festival organizers.

A younger festival like NEW NOW has to deal with the bureaucratic issues associated with its heritage site. However, as with its counterparts, successfully bridging the needs of artists and communities is a challenge.

What about the death of festivals? As David Lavoie points out, institutions sometimes have to die, and we need to be able to address this issue if we are to foresee the future of festivals. That’s why the NEW NOW Festival has given itself a 10-year lifespan.

We’ll leave you to ponder.

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