Francos de Montréal : Marie-Annick Lépine au Club Soda
by Rédaction PAN M 360
Marie-Annick Lépine, multi-instrumentiste des Cowboys Fringants, reprend la route avec son nouvel album qui nous transporte dans son cheminement rempli de franchise, d’humanité et d’autodérision. Le cœur est un rêveur est une ode au retour à la vie. « Malgré la peur et malgré tout » Marie-Annick continue d’avancer. Et c’est magnifiquement accompagnée de ses complices musicien.ne.s que l’autrice-compositrice-interprète donnera rendez-vous au public. Elle nous fera sourire, chanter, crier, réfléchir avec des textes riches et intimes, livrés sur ses musiques accrocheuses, dans un esprit de bienveillance où un brin de lumière est toujours présent.
Marie-Annick Lépine, multi-instrumentalist of Les Cowboys Fringants, hits the road again with her new album, taking us on a journey filled with honesty, humanity, and self-mockery. Le cœur est un rêveur is an ode to reclaiming life. “Despite fear and despite everything,” Marie-Annick keeps moving forward. Beautifully accompanied by her fellow musicians, the singer-songwriter invites audiences to join her for a show that will make them smile, sing, shout, and reflect. With rich, intimate lyrics set to catchy melodies, she creates a warm, uplifting atmosphere where a spark of light is always present.
Festival International de Jazz de Montréal : Makaya McCraven au Club Soda
by Rédaction PAN M 360
Présenté par Le Festival International de Jazz de Montréal dans le cadre de la série ” LES COULEURS en collaboration avec THE GAZETTE”. Makaya McCraven est un batteur, compositeur et producteur prolifique. Son dernier album, In These Times, est l’aboutissement triomphal d’un projet de plus de sept ans. Il s’agit d’un ajout de premier plan à sa vaste discographie déjà acclamée, et c’est l’album qu’il essaie de faire depuis qu’il a commencé à enregistrer des disques.
Presented by the Montreal International Jazz Festival as part of the LES COULEURS series in collaboration with The Gazette. Makaya McCraven is a prolific drummer, composer, and producer. His latest album, In These Times, is the triumphant culmination of a project over seven years in the making. A standout addition to his already acclaimed discography, it is the album he has been striving to create since he first started recording.
L’artiste hip-hop vous présente les pièces frappantes et engagées de son nouvel album La mort du troisième couplet.
Inspirée par l’univers du théâtre et du documentaire, Sensei H revient avec un spectacle qui veut présenter le rap autrement, avec le charisme qu’on lui connaît. Vivre une expérience hors du commun est au cœur de l’intention. La mort du troisième couplet explore l’éclectisme voyageant de la house aux sonorités trap/rock, en passant par du hip-hop pur. Cette démarche explique pourquoi on retrouve autant la dimension électronique qu’acoustique lors de ses performances sur scène. The hip-hop artist presents striking, committed tracks from his new album La mort du troisième couplet.
Inspired by the world of theater and documentary, Sensei H is back with a show that aims to present rap in a different way, with the charisma she’s known for. The intention is to offer an extraordinary experience. La mort du troisième couplet explores an eclectic mix of house, trap/rock and pure hip-hop. This approach explains why his live performances are as much electronic as acoustic.
Semaine du Neuf | A lot of chamber groove from collectif9 and Architek Percussions
by Frédéric Cardin
Five contemporary works, as many composers. The common thread? In addition to the words woven by author Kaie Kellough – groove. Indeed, this element so rarely associated with creative music was the central element of the evening of March 15 at the Espace Orange du Wilder in Montreal’s Quartier des Spectacles. As part of the Semaine du Neuf organized by Le Vivier, a show entitled Quelque part, mon jardin / My Backyard, Somewhere was presented, bringing together the creative universes of two of the most original and dynamic ensembles on the Montreal/Canadian scene: collectif9 and its nine strings, and Architek Percussions and its four genial tappers and pickers… To find out much more about the origins of this concept, read the interview conducted by colleague Alain Brunet HERE.
The interpretative strategy adopted by the artists is quite original: the five works are cut into various parts, and then mixed together to form a continuous framework lasting around an hour and fifteen minutes. A bit like taking five models of Lego blocks and reassembling them into a single new, entirely coherent construction.
The evening’s sonic thread was criss-crossed by contrasts between the glitch/syncopated aesthetics of Nicole Lizée, post-minimalist/dissonant of Luna Pearl Woolf, chamber pop of Eliot Britton, almost muzak of Brett Higgins and neo-impressionist/rock of Derek Charke. Kellough’s lyrics sometimes chanted or declaimed by the artist himself, have a spoken word style and are very urban, sometimes pre-recorded and altered, marking the blow and offering a very street colour to the whole concert.
Quelque part, mon jardin / My Backyard, Somewhere is a contemporary proposition whose topicality is rooted in the blurring it creates between the scholarly contemporary creation and multi-trend pop worlds. Above all, it is an attempt to include the swaying pulse of Black music rather than the metronomically regulated pulse of Minimalism, another stylistic school based on rhythmic affirmation. You may have to pass for lovers of harmonic modernity, or especially the avant-garde, as this is almost totally consonant territory.
The end result is resolutely contemporary, yet very accessible, even for an audience unfamiliar with creative music. Perhaps even a little too “polished” for some, if a few of the comments I’ve heard are anything to go by?
Be that as it may, and as far as I’m concerned, Quelque part, mon jardin / My Backyard, Somewhere is one of the very good projects by collectif9 and Architek.
Luna Pearl Woolf:But I Digress… (2018) – 19 min
Bret Higgins:among, within, beneath, atop (2018) – 8 min
Derek Charke:the world is itself a cargo carried (2018) – 15 min
Semaine du Neuf | Quatuor Bozzini: Outpourings of friendship in a dreamlike sonic calm
by Alexandre Villemaire
To celebrate its silver anniversary, the Quatuor Bozzini joined forces with three exceptional composers: Martin Arnold, Linda Catlin Smith and Michael Oesterle. The program emphasized the friendship and close ties that have united the quartet’s musicians with these avant-garde composers for 25 years. On a musical level, this friendship translated into ethereal sonorities in works with an essentially gentle, calm aesthetic.
The first work presented was Martin Arnold’s 3-Way Cotillon, in its Montreal premiere. For the occasion, the members of Quatuor Bozzini (Isabelle Bozzini, cello; Stéphanie Bozzini, viola; Alissa Cheung, violin and Clemens Merkel, violin) were joined by violist Elisa Trudel and cellist Audréanne Filion, in a sextet formation. The harmonic environment is essentially diatonic. Among the many influences that characterize Arnold’s language, it was the use of folk-inspired material and the inspiration of early music that stood out for us. The musical inflections of the cotillion, a popular dance in 18th-century Europe and America, bear in some respects the sonic stamp of an Aaron Copland. The piece evolves with sporadic interventions of string lines, which are played dispersedly by the instrumentalists. There is a general evolution in the texture and timbre of the piece, starting from the treble and moving quietly into the lower strings throughout. As the work progresses, the jumbled, spaced-out material contracts over time, eventually coming together to create a coherent, interrelated whole.
Linda Catlin Smith’s Reverie, composed expressly for the occasion, echoed this same spirit of plenitude, but with a more stable melodic construction defined by thematic sections clear to our ears. We begin with long bow strokes exposing pure notes, while the sounds melt into each other timbrally. Midway through, a harmonic carpet supports dissonant melodic passages played above it, in an expressive, ominous half-tone character. Further on, in a tonal calm with a melancholy atmosphere, a recurring modal theme is expressed and repeated several times, creating a feeling of weightlessness and temporal elasticity. We fully understand the artistic choice to follow these two works, given their difference from the last piece of the concert and their strong aesthetic similarity. But, at a certain point in the sound treatment, one had the impression of hearing a kind of continuation of Martin Arnold’s piece in Linda Catlin Smith’s, despite a very different musical treatment and narrative language.
Keeping the listener’s senses alert is a challenge, and can be a double-edged sword in such an arrangement. The final work of the evening was Michael Oesterle’s String Quartet No. 4, and was, in terms of texture, the most varied. It thus balanced the dreamlike character of the works in the first half. After an introduction worthy of a 19th-century musical line, the central parts of the work explore different instrumental timbres, with extended playing techniques to create bursting sonorities, from string rubs to high notes. For example, in Oesterle’s quartet, the interaction between violinists Clemens Merkel and Alissa Cheung’s swift motives, over which energetic pizzicato interventions were brushed, or the thematic superimposition that initiates the work’s conclusion, which reintroduces the opening theme.
The highly focused acoustics of the MMR at McGill University meant that the sound didn’t travel far, but remained anchored. For the repertoire played, this hall was ideal, as it gave us a detailed appreciation of the interpretation of each of the instrumentalists, whose act of supporting these pieces with these long-developing musical lines demands sonic constancy and mastery of sound, as well as sensitive and precise listening to the various changes in dynamics. An attentiveness that echoes the friendly ties that bind the musicians together.
L’attitude ensoleillée de Megan Moroney cache sa finesse en tant que compositrice, un aspect mis en valeur dans son single à succès de 2022, Tennessee Orange, et son album qui l’accompagne, Lucky. Sur ce premier album de 2023, Moroney mélange les tropes classiques de l’écriture country – aussi à l’aise avec un boogie entraînant qu’avec une narration poignante – avec une sensibilité pop et contemporaine. L’album a été un succès dans le Top 10 des classements country, un exploit qu’elle a surpassé l’année suivante avec son deuxième album, Am I Okay?, qui a atteint la neuvième place du Billboard 200.
Megan Moroney’s sunny demeanor belies her cleverness as a songwriter, an aesthetic showcased on her 2022 breakthrough single “Tennessee Orange” and its accompanying album Lucky. On that 2023 debut, Moroney’s embrace of classic country songwriting tropes — she is at ease with a boot-scooting boogie as she is with plaintive storytelling — intertwined with a pop savviness and a contemporary sensibility. The album was a Top Ten success on the country charts, a feat she bested a year later with her follow-up, Am I Okay?, which reached number nine on the Billboard 200.
Semaine du Neuf | A Symphony and a World Premiere for Tim Brady
by Vitta Morales
The Chapelle Theatre hosted Tim Brady, his guitars, and his pedals on March 15th as part of the Semaine du Neuf festival. A last-minute change to the program would mean Brady would play the entirety of his forty-five or so minute piece, Symphony in 18 Parts , as well as the premiere of For Electric Guitar.
It should be said, for starters, that The Chapelle was a great choice of venue for this repertoire. The black box-style venue helped focus the audience’s attention squarely on Brady’s tools (his pedals, amps, and guitars) and soundscapes. Against a black background, little could distract a listener; this, coupled with good lighting, meant the vibes were set very appropriately for Brady’s electric inventions.
Concerning Brady’s Symphony in 18 Parts, I happened to have it more or less fresh in my ears as I consulted it a lot in preparation for the concert and the interviews we conducted in the lead up. As such, I think I could tell which movements were more rehearsed than others. Occasionally, when a passage of fast notes came up, the execution would come out slightly less clean than that of the recording. This was more discernible in the moments where distortion and overdrive were absent. I, of course, don’t really blame Brady who wasn’t originally planning to play the whole thing. At other points he performed aptly and impressively pulled off tricky sweep picking passages and hammer-on flurries; (especially in For Electric Guitar).
All told, an enjoyable afternoon of shredding, ethereal soundscapes, and shimmery tapping. In addition, it was noteworthy that Brady had a good sense of humour, a relaxed demeanour, and took the time to explain the sounds he was making before letting his Godin guitars do the talking. Clearly the mark of a composer and performer who has been doing this for decades.
Le groupe de rock multi-platine Disturbed annonce sa tournée du 25e anniversaire de The Sickness. Cette tournée célèbre les 25 ans du premier album de Disturbed, qui a propulsé le groupe dans la conscience publique et qui est l’un des albums de heavy metal les plus importants et les plus influents de tous les temps. Chaque soir, Disturbed proposera deux parties, en commençant par l’interprétation intégrale de The Sickness, cinq fois disque de platine, suivie d’une partie avec les plus grands succès du groupe.
Multi-platinum rock band Disturbed announces their The Sickness 25th Anniversary Tour. The tour celebrates 25 years of Disturbed’s seminal debut album which launched the band into public consciousness and is one of the most important and influential heavy metal albums of all time. Each night will feature two sets of music, opening with Disturbed playing the five times platinum The Sickness in full, followed by a full set of greatest hits.
OSM : Symphonie «Pastorale» et la mythologie de Glass
by Rédaction PAN M 360
Glass s’inspire de poèmes africains pour composer Ifé, et Beethoven fait part de ses sensations lors d’une promenade à la campagne. De la mythologie du Bénin, célébrée par la chanteuse Angélique Kidjo, à la nature bucolique représentée dans la symphonie « Pastorale », vivez un délicieux moment d’évasion!
Glass drew inspiration from African poems to compose Ifé, while Beethoven conveyed his impressions as he strolled through the German countryside. From the legends of Benin, celebrated by singer Angélique Kidjo, to the rustic landscapes unfolding in the “Pastoral” Symphony, join us for a delightful moment of escape!
Semaine du Neuf | Paramirabo/Musikfabrik: old school avant-garde meets cool post-modernism
by Frédéric Cardin
Two ensembles devoted to contemporary music and separated by an ocean, but also by two schools of thought, met on Tuesday evening 11 March at the Wilder building in the Quartier des spectacles in Montreal. On one side, the Ensemble Musikfabrik from Cologne in Germany, represented by three of its musicians, oboe/English horn (Peter Veale), horn (Christine Chapman) and double bass (Florentin Ginot). On the other, the Montreal sextet Paramirabo, comprising piano, percussion, violin, cello, clarinet/bass clarinet and flutes. Beyond the difference in timbre imposed by the instrumentation of each ensemble, it was the marked dissimilarity between the two ‘languages’ spoken that was striking. Disparities that were obvious even to the most layman and accentuated by the chosen programme, in terms of syntax, discourse, the importance of narrative in the musical framework, references to the vernacular and many other aspects besides.
In the first half, the three guests from Musikfabrik demonstrated their breathtaking technical expertise in ultra-pointillist/pointraitist scores in which every possible and impossible sound came out of the instruments present, except perhaps those for which they were initially intended. The quality of the sounds, timbres and textures was pushed to a very high level of perfection. The discourse, stratospherically intellectual, was enough to delight the most discerning of thoughtful music lovers. In my humble opinion, it was Juliet Palmer’s Blur of Lichens that stood out the most, offering, through a hyper-calculated construction, the most beautiful impression of freedom, even lyricism and grace. Canadian Gordon Williamson offered his humorous take on strict abstraction in Odd Throuple (a pun on Odd Couple, but with three people), a work in which he explored the sonic contrasts of this unusual trio (an oboe/English horn, a horn and a double bass, let us not forget). I found Dylan Lardelli’s The Giving Sea, a ‘spiritual evocation’ of the ocean, much more academic. Unfortunately, I didn’t feel that uplift. Maybe this is just me.
This strictly atonal and abstract discourse is rooted in a very Boulézian or post-Boulézian vision of the avant-garde (even if it’s not strict serialism/dodecaphonism), which is already a good fifty years old. We can therefore speak of an ‘old school’ avant-garde, an astonishing oxymoron that would have been unimaginable not so long ago.
For the uninitiated, it’s an impression of cerebrality that will echo in the mind, a characteristic typically (let’s say stereotypically) associated with ‘contemporary’ music. Is it good music? Absolutely! But the second half, led by Paramirabo, was about to show us that today’s music is made elsewhere, and that it’s important not to forget that.
This part began with a short piece by Vancouver’s Rodney Sharman, a lovely, poetic tribute to John Cage for English horn (Peter Veale of Musikfrabrik) and piano doubled as toy piano (Pamela Reimer of Paramirabo), draped in neo-impressionist finery. The message had been sent: this second part was going to offer us a completely different experience, less cerebral, more organic, even sensitive, inclusive and eclectic in its amalgams. Post-modernist, and very cool.
And that’s exactly what happened with Paul Frehner’s Un pont sanguin (A Blood Bridge), a narrative, rhythmic work imbued with a very broad post-minimalism and amusing sounds such as a Plan 9 From Outer Space-style synthesiser. A creation that deserves to be repeated as often as possible. Canadian Chris Paul Harman’s Francisez-moi! (Frenchify me) is a nod to the French language, inspired by early French composers, writers and poets. The result is full of humour, with narrations on tape of extracts from various texts, including one on the various qualities of ‘’tétins‘’ (breasts). There is a polytonal Turkish march from Lully in there, post-folk like tunes, and many more friendly things, albeit embedded in a modernist set of harmonies. It’s all fun and games.
Finally, Quebec composer Frédéric Lebel presented his creation Si le Temps, l’Espace (If Time, Space), a beautiful score tinged with neo-spectralism, sparkling with a thousand lights and pleasantly open, even solar.
The members of Paramirabo were impeccable, on par with their illustrious guests. The programme will travel to Germany in the coming months. We can be sure that our German cousins will be impressed not only by the quality of our instrumentalists, but also by the kind of contemporary music they champion, informed by Europe but steeped in North America.
Après son succès remporté en 2023, Tianyi Lu retrouve l’OSM en compagnie du pianiste Pierre-Laurent Aimard, un spécialiste incontesté de Bartók. De ce dernier, il interprétera le Troisième Concerto, une partition emplie de poésie et d’emprunts au folklore hongrois. À la relative sérénité de cette œuvre, répondront les accents tourmentés de la Symphonie no 5 de Tchaïkovski dans laquelle le compositeur livre ses craintes les plus secrètes.
After her remarkable performance in 2023, Tianyi Lu returns to the OSM. She is joined by pianist Pierre-Laurent Aimard, undisputed champion of Bartók’s music who performs the composer’s exquisitely poetic Concerto no. 3, infused with elements of Hungarian folklore. This work’s relative tranquility is paired with the tormented inflections of Tchaikovsky’s Symphony no. 5, through which this composer related his most profound personal anxieties.
Duo de musique électronique qui ne cesse de redéfinir ce que cela signifie, Justice mélange prog, métal, new wave et indie à ses bases funk, disco et house d’inspiration vintage. Dès le single D.A.N.C.E., nommé aux Grammy Awards en 2007, et leur premier album † (alias Cross) la même année, le duo parisien a incarné l’esthétique audacieuse et stylée du label Ed Banger Records au milieu et à la fin des années 2000. Leur musique est devenue plus audacieuse et inattendue à chaque album : ils ont accentué les riffs sur Audio, Video, Disco en 2011, collaboré avec le London Contemporary Orchestra sur Woman en 2016, remixé leurs propres morceaux sur Woman Worldwide en 2018 – qui leur a valu un Grammy Award – et fusionné le gabber avec la pop sur Hyperdrama en 2024. Avec chaque sortie, Justice réinvente les possibilités infinies d’un monde où toute la musique est accessible en un instant – et recombinable à l’infini.
A dance music duo that constantly redefines what that means, Justice adds prog, metal, new wave, and indie to their vintage funk, disco, and house foundations. Starting with the Grammy-nominated 2007 single “D.A.N.C.E.” and that year’s full-length † (aka Cross), the Parisian duo defined the brash, stylish appeal of their label, Ed Banger Records, in the mid- to late 2000s. Their music grew bolder and more unexpected with each album, whether they cranked up the riffs on 2011’s Audio, Video, Disco, collaborated with the London Contemporary Orchestra on 2016’s Woman, mashed up their own songs on 2018’s Grammy-winning Woman Worldwide, or fused gabber with pop on 2024’s Hyperdrama. With every release, Justice have reimagined the genre-bending possibilities of a world where all music is available to hear — and recombine — in an instant.
Ce contenu provient d’AllMusic et est adapté par PAN M 360
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