Montréal

Alternative Rock / Indie Rock / Shoegaze

Pop MTL 2026 I Ribbon Skirt Opens the Festival at Marché Des Possibles

by Stephan Boissonneault

Hundreds gathered under the bridge of Mario Park to celebrate the 25th year of Pop Montréal. Ribbon Skirt, the local post-indie rock stooges, were directly under the bridge on a makeshift stage, urging the crowd to move closer between tracks. The vibe was very DIY Marché Des Possibles—which used to be near the train tracks—but the event had a bit more legs due to it being an official Pop Montréal showcase/ opening to the whole festival.

While attendees tasted twisted meats and drank some beers under the fall sun, Ribbon Skirt played songs from last year’s Polaris-shortlisted album, Bite Down. They also had a few more punky numbers from the raw Pensacola EP. I truly wish there was one more speaker situated away from the stage, because Ribbon Skirt’s ethereal post-punk was kind of swallowed up by the brutalist, concrete structure they were playing under. They also seemed a bit perturbed—I got the sense that vocalist and rhythm guitarist, Tashiina Buswa, couldnt hear her vocals for a few songs like “Off Rez.” Lead guitarist, Billy Riley, dressed in sporadic puprles and a skirt also seemed less jumpy than other shows I’ve seen, but maybe the band was just hyper focused on the set.

The farther you got from the stage, the quieter the sound became, especially as the crowd grew and grew, featuring a who’s who of Montreal music scene alumni.

The sound battles at outside DIY shows are known, but I know for a fact that other DIY shows have taken the risk and had higher decibels in that exact space. And this is Pop Montréal. The band, especially this one, should have been heard no matter where you were.

Photos by Stephan Boissonneault

Publicité panam
Indie Rock / jangle pop / SLACKER

Pop MTL 2026 I Bracelet is the Band other Bands Tell other Bands About

by Stephan Boissonneault

Bracelet has been a band on my need-to-see live show list for quite some time. They’ve been around for two years or so, but I never had the pleasure due to a metric-fucked cavalcade of other live band shows I’ve needed to attend as a music journo in Montreal. I’ve also seen multiple cool local bands wearing their merch, so I knew that their opening set at P’tit Ours for Pop Montréal was a must.

In a packed room (though it could have been more packed, more on that later), the three-piece unleashed some impassioned, jangly, yet melodic indie rock, while not really facing the audience, which kind of added to the mysterious ambiance under the cave that is P’tit Ours. The Bracelet sound is spartan, with only a few moments of real flash (this is a good thing for the Bracelet sound), but damn, is it tight and present.

The vocals from guitarist Caleb McKend feel very stream-of-consciousness, shot from the hip—at times like being sung from a personal mental health shopping list, while his guitar riffs float and hang in the heavy air. The guitar leaves a lot of room for the bass from Silas Jordan to really groove out and take his moments. I also gotta give props to the drumming from William Sinclair. The guy makes a lot with such a small kit. I enjoyed the cowbell and the absolute murder on the toms during the unreleased track, “Waterbed.” Actually, after a little digging, most of this Pop setlist is unreleased. They only played two songs from the I Hear Bracelet five-song EP. I can say from what I’ve heard, these guys gotta release the full-length soon.

My only gripe with the show, and it’s a small one, is that the door staff were turning people away from the show when the venue was not at capacity. I’ve played sold-out shows at P’tit Ours, and you can fit 75 people. Sure, it’s cramped, and you can smell everyone and their beer, but that’s rock ‘n’ roll. There were probably 50 total, and lots of room at the back. Still, Bracelet made it work.

Bracelet may be the band that other bands tell other bands about, but everyone should know ’em.

Photos by Stephan Boissonneault

Publicité panam
art rock / Indie Pop / Indie Rock

POP Montréal 2026 : Plants and Animals et Sasha Cay au Divan Orange

by Rédaction PAN M 360

Plants and Animals

Plants and Animals a vu le jour au début des années 2000 comme un groupe d’improvisation atypique, avant de devenir rapidement l’un des fers de lance de la renaissance de la scène musicale montréalaise de l’époque. Le groupe a enchaîné les concerts à travers le monde, les premières parties d’artistes de renom et les nominations à des prix prestigieux, forts de cinq albums et d’un spectacle live réputé pour sa puissance et son élégance. Il y a quelques années, tout s’est arrêté net, même si les trois membres ont continué leurs activités, notamment à travers des projets comme Bibi Club et Unessential Oils. Eh bien, les voilà de retour, et avec eux, le mythique Divan Orange, la salle de concert où, comme tant d’autres groupes de cette époque, ils ont fait leurs premières armes. Cette grande dame, qui a connu son heure de gloire et est aujourd’hui une friperie, va redevenir le légendaire Divan Orange avec le légendaire Plants and Animals en live ! Vous plaisantez ? J’en suis !

Plants and Animals began in the early ’00s as a weird improvisational band and quickly evolved into one of the era’s Montreal music scene renaissance flag bearers, headlining all over the world and opening for big acts and getting nominated for prestigious awards on the wings of five full-length records and a live show reputed for its ferocity and grace. At some point a few years back it all just kind of stopped—though all three members have carried on, most notably via ongoing projects like Bibi Club and Unessential Oils. Well they’re rising again, and with them, the legendary Divan Orange, the music venue where they, like so many bands of the era, cut their teeth. The grand old lady that ran its course and is now a friperie but is going to be the legendary Divan Orange again with the legendary Plants and Animals playing in it, are you kidding, sign me up.

Sasha Cay

Avec son art-rock curieux et ses concerts déchaînés, Sasha Cay cultive un univers où s’entrechoquent la clarté émotionnelle et le mystère — sincère mais abstrait, nostalgique mais insaisissable, quelque part entre les groupes de guitares les plus bruyants de Montréal et les marginaux du folk occulte.

With their inquisitive art-rock and raucous live show, the band Sasha Cay stirs a contradictory feeling of emotional clarity and mystery in their world— honest but abstracted, nostalgic but unpinnable, paying tribute to both the loud-as-hell guitar bands and occult folk freaks of their hometown Montreal.

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Experimental / Contemporary / Indie Rock / rap-jazz

POP Montréal 2026 : Haha Laughing, Living Hour, Frown line et Sofia Wolfson à la Casa del Popolo

by Rédaction PAN M 360

Haha Laughing

haha Laughing est un projet de rap noise expérimental basé à Austin, composé de Jay Dilick et Aby Oviedo. Le duo fusionne des éléments de rap hardcore, de free-jazz, de musique électronique déformée et d’énergie punk pour créer des explosions de catharsis accrocheuses d’une durée de trois minutes. Le chaos qu’ils orchestrent prend toute sa dimension lors de leurs concerts : les échanges vocaux entre Dilick et Oviedo, les ruptures noise, les détournements d’échantillons et leur sens du jeu donnent naissance à une performance scénique incontournable, à la fois énergisante et délicieusement désorientante. haha Laughing a sorti plusieurs EP et singles depuis 2021, et a sorti son premier album, « LOSING TEETH DREAM », en mai 2025. Leur EP suivant, « BIG WHATEVER », est sorti en avril 2026. haha Live. haha Laugh. haha Love.

haha Laughing is an Austin-based experimental noise rap project consisting of Jay Dilick and Aby Oviedo. The duo blends elements of hardcore rap, free-jazz, distorted electronic music and punk energy into 3 minute explosions of catchy catharsis. The chaos they curate is driven home through their live shows where Dilick and Oviedo’s back and forth vocals, noise breakdowns, sample flips, and sense of playfulness create a must see live performance that is energetically engaging and delightfully disorienting. haha Laughing has released multiple EP’s and singles since 2021, and released their first album “LOSING TEETH DREAM” in May of 2025. Their follow up EP “BIG WHATEVER” is was released April 2026. haha Live. haha Laugh. haha Love.

Living Hour

Living Hour est un groupe rock canadien originaire de Winnipeg, au Manitoba.

Living Hour is a Canadian rock band from Winnipeg, Manitoba.

Frown line

frown line est le projet indie rock d’Annika Devlin, originaire de Montréal. En 2021, alors qu’elle vivait encore dans sa ville natale d’Ottawa, en Ontario, Annika a commencé à sortir des titres sous le nom de « frown line ». En 2023, après avoir signé avec le label Lauren Records, basé à Los Angeles, frown line a sorti son premier EP, « Come Around », et s’est constitué une solide base de fans sur diverses plateformes de streaming. En 2025, le groupe composé de quatre membres a sorti trois singles et s’est rendu à Los Angeles pour se produire au festival local « Growing Up Is Dumb », organisé de manière indépendante, avant d’enchaîner avec une tournée sur la côte est du Canada cet été-là. En 2026, frown line prévoit de partir en tournée aux États-Unis et au Canada, ainsi que d’enregistrer son premier album.

frown line is the indie rock project of Montreal-based Annika Devlin. In 2021, while still living in her hometown of Ottawa, Ontario, Annika began releasing music under the name ‘frown line’. In 2023, after signing with LA-based label Lauren Records, frown line released their debut EP ‘Come Around’ and gained a comfortable following on various streaming platforms. In 2025, the four-piece band released 3 singles and travelled to LA to play the local DIY festival ‘Growing Up Is Dumb’, followed by an east-coast Canada tour that summer. In 2026, frown line plans on touring in the US and Canada, as well as recording their first album.

Sofia Wolfson

Sofia Wolfson est une musicienne et écrivaine originaire de Los Angeles, désormais installée à Brooklyn. Son album de 2024, Imposing on a Hometown, coproduit par Gabe Wax (Zach Bryan, Soccer Mommy), lui a valu de figurer dans les listes de fin d’année de Cosmopolitan, The Line of Best Fit et New Commute. Cet album comprend des collaborations avec Hand Habits, The Milk Carton Kids et Harrison Whitford. En 2025, elle a obtenu son MFA en écriture créative à la New School et ses nouvelles ont été publiées dans Oyez Review, Superstition Review, Open Ceilings, Flash Fiction Magazine et Westwind. Sa musique mêle les influences indie-folk-rock de son enfance à Los Angeles à des allusions à la littérature et aux beaux-arts (son dernier album est une ekphrase inspirée du poème « Soir Bleu » d’Edward Hopper). Ces dix dernières années, elle a tourné aux États-Unis et au Royaume-Uni, assurant les premières parties d’artistes et de personnalités telles que Laura Veirs, Frances Quinlan, Kath Bloom, Fenne Lily, Katy Kirby, et bien d’autres.

Sofia Wolfson is a musician and writer from Los Angeles, now based in Brooklyn. Her 2024 record Imposing on a Hometown, produced in-part by Gabe Wax (Zach Bryan, Soccer Mommy), landed her on year-end lists in Cosmopolitan, The Line of Best Fit, and New Commute, a record with contributions from Hand Habits, The Milk Carton Kids, and Harrison Whitford. In 2025, she received her MFA in creative writing from the New School and her fiction has appeared in the Oyez Review, Superstition Review, Open Ceilings, Flash Fiction Magazine, and Westwind. Her music combines the indie-folk-rock sonic influences of her LA upbringing with allusions to literature and fine art (her latest record being an ekphrastic response to Edward Hopper’s “Soir Bleu”). For the last decade, she has toured the US and UK, opening for artists and heroes such as Laura Veirs, Frances Quinlan, Kath Bloom, Fenne Lily, Katy Kirby, and more.

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Country / Indie Rock

POP Montréal 2026 : Dale Watson & His Lone Stars et Ben Vallee à la Toscadura

by Rédaction PAN M 360

Dale Watson & His Lone Stars

Dale Watson est un musicien et producteur country authentique récompensé à plusieurs reprises, actif sur scène depuis plus de 40 ans. Il a partagé la scène avec des légendes comme Merle Haggard, Johnny Cash, Willie Nelson et Kris Kristofferson. Avec plus de trente albums et singles à son actif, Dale Watson perpétue l’esprit des racines de la musique country à travers le monde. Il est également propriétaire du Wat-sun Studio à Memphis, équipé de la célèbre console de Sun Studio datant de 1937.

Dale Watson is an award-winning hardest working real country musician and producer who has been creating music and performing live for over 40 years. He has shared the stage with such icons as Merle Haggard, Johnny Cash, Willie Nelson, and Kris Kristofferson, just to name a few. He has been seen on David Letterman, Jimmy Kimmel, and Austin City Limits, but most of the time, he is touring the world, killing it for his fans, keeping the country music roots sound alive. With over 30 albums and singles, Dale knows his way around the recording studio, which is why he built Wat-sun Studio in Memphis, Tennessee, complete with the 1937 board from Sun Studio.

Ben Vallee

L’auteur-compositeur-interprète et guitariste de pédale-steel Ben Vallee fait partie de la scène underground pittoresque de la musique roots montréalaise depuis près d’une décennie. Ses compositions sincères et authentiques évoquent la vie et ses peines d’amour, sur fond de musique country et western traditionnelle, avec au programme deux violons, une guitare steel et une contrebasse.

Singer-songwriter/pedal steel guitarist Ben Vallee has been a part of Montreal’s quaint underground roots music scene for nearly a decade. His earnest and honest songwriting spells life and its heartaches beneath the blanket of traditional country and western music featuring twin fiddles, steel guitar and upright bass.

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Indie Pop / Post-Rock / prog

POP Montréal 2026 : SAMWOY, Mellonella, Palomine et Taupe au Quai des brumes

by Rédaction PAN M 360

SAMWOY

SAMWOY est un artiste, producteur et auteur-compositeur basé à Montréal qui façonne une indie pop riche en émotions, à la croisée des univers alternatif, électronique et expérimental. Nourrie par ses expériences personnelles et une approche résolument DIY, sa musique marie une écriture intime à des productions immersives, donnant naissance à un spectacle à la fois vulnérable, captivant et électrisant. Depuis la sortie de son plus récent projet, Even Sad Boys Like to Have Fun, SAMWOY a su développer un public à l’international grâce à des prestations dans des festivals tels que SXSW, Focus Wales, New Colossus Festival et M pour Montréal, tout en recevant l’appui de CBC Music, Exclaim!, RANGE Magazine, The Line of Best Fit et de nombreux prescripteurs musicaux au Canada et à l’étranger.

SAMWOY is a Montréal-based artist, producer, and songwriter crafting emotionally rich indie-pop that blurs the lines between alternative, electronic, and experimental music. Drawing from personal experiences and a DIY ethos, his music balances intimate songwriting with immersive production, creating a live show that is both vulnerable and electrifying. Since releasing his latest project, Even Sad Boys Like to Have Fun, SAMWOY has steadily built an international audience through performances at festivals including SXSW, Focus Wales, New Colossus Festival, and M for Montreal while earning support from CBC Music, Exclaim!, RANGE Magazine, The Line of Best Fit, and tastemakers across Canada and beyond.

Mellonella

Mellonellla est un groupe de prog-rock expérimental de Montréal. Il cherche à fusionner le style du prog britannique des années 1970 avec des influences expérimentales modernes pour créer quelque chose de vraiment nouveau. En 2026, le groupe a lancé son premier album, Galleria, et travaille actuellement à son deuxième disque.

Mellonellla is an experimental prog-rock band from Montreal. They strive to merge the style of 1970s British prog with modern experimental influences and create something truly new. In 2026, they released their debut album, Galleria, and are currently working on their sophomore record.

Palomine

Palomine est un groupe montréalais dont la musique marie l’éthique indie rock aux atmosphères tentaculaires du post-rock. Ce groupe de six musiciens en voie de devenir un collectif (formé de Jiwon Yun, Alex Leitman, Lex Bowden, Julia Gribinski, Zach Johnson et, plus récemment, Aija Tso) a commencé comme un duo. Comme l’amitié et le lien avec les autres demeurent un moteur créatif central dans l’écriture de leur musique, de nouvelles amitiés sont vite devenues, au fil du temps, de nouveaux membres. Avant même de s’en rendre compte, leur formation live, en expansion constante, comptait trois guitares, un banjo, un violoncelle et des magnétophones. Avec un éventail de timbres aussi varié à leur disposition, et autant inspirés par la musique folk que par le shoegaze, ils parviennent à créer un mélange unique de paysages sonores réverbérés et d’arrangements de chambre. Palomine s’apprête à lancer son premier album, enregistré avec Nick Bendzsa au Studio Toute Garnie, cet automne.

Palomine is a Montreal band whose music blends indie rock ethos with the sprawling atmospheres of post-rock. The six-piece band-soon-to-be-collective (comprised of Jiwon Yun, Alex Leitman, Lex Bowden, Julia Gribinski, Zach Johnson, and recently Aija Tso) began as a duo, but as friendships and connection with others remain a main creative factor in writing their music, over time, new friendships quickly became new members. Before they knew it, their ever expanding live lineup included three guitars, banjo, cello, and tape machines. With such a varied roster of timbres to draw from, and being as inspired by folk music as they are by shoegaze, they are able to achieve a unique blend of reverberated soundscapes and chamber arrangements. Palomine is set to release their debut album, recorded with Nick Bendzsa at Studio Toute Garnie, this fall.

Taupe

Groupe fondé par Heather Ogilvie et Jess Barry qui ont commencé à écrire des chansons inspirées par leur amour mutuel pour les groupes de guitare mélodique dont Pinback, Dog Day, et Duster. Pour les fans de 6/8, riffs mélodiques et voix entrelacées.

Heather Ogilvie and Jess Barry started writing songs together based on a mutual love of melodic guitar bands like Pinback, Dog Day and Duster. For fans of 6/8, melodic riffs, and interlaced vocals. Genres include alternative rock, indie, guitar rock.

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Alternative / Indie Rock

POP Montréal 2026 : Spencer Krug à La Sala Rossa

by Rédaction PAN M 360

En tant que musicien canadien derrière Sunset Rubdown et Moonface, co-leader de Wolf Parade, membre auteur-compositeur de Swan Lake et claviériste de Frog Eyes et Fifths of Seven, Spencer Krug a joué un rôle majeur sur plus de vingt-cinq albums au cours des deux dernières années. décennies. Il écrit et publie actuellement de la musique sous son propre nom et interprète sur scène un mélange de morceaux nouveaux et anciens.

As the Canadian musician behind Sunset Rubdown and Moonface, co-frontman of Wolf Parade, songwriting member of Swan Lake, and keyboardist for Frog Eyes and Fifths of Seven, Spencer Krug has been a major player on over twenty-five releases within the past two decades. He currently writes and releases music under his own name, and performs a mix of new and old material on stage.

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Choral Music / Indie Pop

POP Montréal 2026 : Toujours Ensemble au Rialto Hall

by Rédaction PAN M 360

« Toujours Ensemble » est une célébration de l’interconnectivité de la scène musicale montréalaise. Cette soirée spéciale réimagine les oeuvres des artistes montréalais, transformant leurs chansons dans de nouveaux arrangements pour orchestre de chambre et choeur. C’est une invitation à découvrir l’esprit de collectivité qui anime notre communauté et la beauté que nous créeons ensemble grâce à l’art!

“Toujours Ensemble” is a celebration of the interconnectivity of the Montreal music scene. This special evening reimagines the work of some of Montreal’s cherished artists, translating their songs into expansive new arrangements for chamber orchestra and choir. It is an invitation to witness the collectivity of our community and the beauty we build through art and togetherness!

Avec/with : orchestre de chambre, choeur, Thanya iyer, Sarah Rossy, Cedric Noel, Pompey, Common Holly, Emilie Kahn et Eve Parker Finley

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Contemporary / Indian Classical

Opér’actuel 2026: Akasha, masala opera

by Frédéric Cardin

At this moment, the first edition of Opér’actuel is taking place, in its biennial festival format. Faithful to the vision carried by the artistic director Marie-Annick Béliveau (READ THE INTERVIEW WITH HER ABOUT THE FESTIVAL), the first event invited the public to an intercultural meeting between spiritual India and artistic West.

Akasha, the Breath of the Universe is a production by soprano Kripa Nageshwar and her company Hamsa Lyric Creations, based in Longueuil, Québec. A chamber ensemble composed of a piano, a clarinet, a Carnatic violin (from South Indian tradition), a sarod, and a santoor accompanies the soprano who sings and recites Indian poems (by Tagore, among others) set to music by Colin Eatock, and lyrical pieces inspired by Indian culture. Among these, an excerpt from Bizet’s The Pearl Fishers (O God Brahma), Poèmes hindous and Ragamalika by Maurice Delage, and an excerpt from a “Messiah” composed by the Canadian Amirthan Sothivannan.

INFOS AND TICKETS FOR OPÉR’ACTUEL FESTIVAL 2026

Eatock’s music acts as a binding agent between all these pieces which, with the exception of Bizet, blend quite well into the soft modern tonal language, tinged with echoes of Indian classical music. The musical result evokes something Britten could have produced if he had had a South Asian fibre. It is therefore quite accessible, and the arrangements for the small chamber orchestra with unusual combinations work well. They especially manage to avoid the impression of a somewhat cheesy New Age exoticism that often ends up colouring Western projects, especially those aimed at the general public, which wish to delve into Indian spirituality.

For Akasha is primarily a portrait of one of the fundamental aspects of Hindu religion. “Akasha” (in Sanskrit) refers to the ether or space element which, in South Asian culture, is associated with the fifth chakra (the throat), from which the voice emerges. It is also the primordial field from which all creation emerges and the invisible force that connects all beings.

It is a space where the souls of the deceased pass through on their journey towards the ultimate connection with the Universal Whole. In the cycle of births and rebirths, the soul that has not achieved sufficient detachment from superficial things passes through this space before being reborn in the earthly world, and starting the journey again. Those, rarer ones, who have reached the required level will pass through Akasha to attain universal unity and will not return.

Akasha, the opera, thus allows the audience to meet one of these souls (embodied by Kripa Nageshwar), who recounts its first emotional ecstasies in the face of the beauty of earthly life, its attractions, its joys, all the discoveries to be made. Then come the disappointments, the ups and downs of life, the anxieties. One of the quoted texts beautifully stated: joys are (too short) durations between sufferings. The journey of this soul in samsara (wandering) is expressed in Sanskrit, English, and French. 

It should be noted that what was presented last night at the Paul-Buissonneau Hall of the Calixa-Lavallée Center (in the heart of Lafontaine Park in Montreal) is only a part of the final opera that will be fully created in 2027 in Toronto. I imagine that with a more elaborate staging and sets designed for the occasion, the work will take on even more substance.

If it is true that I would have liked the musical material to be more demanding, it remains that Akasha, the Breath of the universe, is a contemporary creation full of good intentions and frankly enjoyable, which knows how to surprise without strictly resorting to experimental techniques to justify its modernity.

classique / période romantique / Piano

OSM : Le grand retour de Lang Lang

by Rédaction PAN M 360

Le phénomène Lang Lang revêt, l’espace d’une soirée, les atours d’un empereur. Dans le Concerto n° 5 de Beethoven, il déploie une virtuosité flamboyante, souveraine, qui semble s’affranchir de toutes les pesanteurs. Sous le geste visionnaire de Rafael Payare, cette quête de lumière se prolonge dans l’Ouverture n° 2 d’Emilie Mayer puis culmine dans la Symphonie n° 2 de Sibelius, cri d’émancipation d’un peuple écrasé. De l’Europe napoléonienne à la Finlande sous tutelle russe, la musique devient au final un espace où l’esprit refuse de se soumettre. Une soirée où l’art rappelle que la liberté est d’abord une force intérieure.

For one unforgettable evening, the phenomenon that is Lang Lang takes on the mantle of an emperor. In Beethoven’s Piano Concerto no. 5, he unleashes a dazzling, sovereign virtuosity that seems to transcend all weight and constraint. Under Rafael Payare’s visionary direction, this quest for light continues with Emilie Mayer’s Overture no. 2 and reaches its summit in Sibelius’s Symphony no. 2—a cry of emancipation from an oppressed nation. From Napoleonic Europe to Finland under Russian rule, music becomes a space where the spirit refuses to yield. An evening where art reminds us that freedom is, above all, an inner strength.

Programme

Emilie Mayer, Ouverture nᵒ 2 (10 min)
Ludwig van Beethoven, Concerto pour piano nᵒ 5, op. 73 (38 min)
Jean Sibelius, Symphonie nᵒ 2, op. 43 (43 min)

Program

Emilie Mayer, Overture no. 2 (10 min)
Ludwig van Beethoven, Piano Concerto no. 5, op. 73 (38 min)
Jean Sibelius, Symphony no. 2, op. 43 (43 min)

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Electronic / Synth-Pop / Vaporwave

POP Montréal 2026 : ESPRIT (George Clanton) à la SAT

by Rédaction PAN M 360

ESPRIT a débuté en 2012 comme projet parallèle basé sur l’échantillonnage du musicien de pop électronique George Clanton. Les deux premiers EP d’ESPRIT, Girls Only et Summer Night, sont encore aujourd’hui considérés comme des œuvres essentielles pour toute personne découvrant le genre Vaporwave. En 2014, alors que la vaporwave était encore principalement définie par l’utilisation de morceaux trouvés et de samples transformés, ESPRIT a sorti l’album Virtua.zip, composé entièrement de matériel original. Dans les trois années qui ont suivi sa sortie, la scène vaporwave dans son ensemble a progressivement suivi cette direction. Après Virtua.zip, le projet ESPRIT a été mis sur pause pendant que le projet solo de George Clanton lançait 100% Electronica à la fin de 2015. Aujourd’hui, trois ans plus tard, ESPRIT revient avec à la fois la suite de Virtua.zip et l’album compagnon de 100% Electronica, réunis dans une seule œuvre. 200% Electronica mélange des compositions entièrement originales dans le style vaporwave classique d’ESPRIT avec des samples chopped & screwed tirés des propres morceaux de George Clanton, inspirés par deux années de tournée avec uniquement une Roland SP-404SX.

ESPRIT began in 2012 as the sample-based side-project of electronic pop artist “George Clanton.” ESPRIT’s first two EP’s Girls Only and Summer Night are still considered essential listening for any newcomers to the vaporwave genre. In 2014, when vaporwave was still defined by its use of found music and manipulated samples, ESPRIT released his Virtua.zip LP composed entirely of original material. In the 3 years since its release, the vaporwave scene at large has followed this trend. After Virtua.zip, the ESPRIT series was put on hold while George Clanton’s eponymous project’s 100% Electronica LP released in late 2015. Now 3 years later, ESPRIT returns with both the successor to Virtua.zip and the sister album to 100% Electronica together in one piece. 200% Electronica combines fully original compositions in ESPRIT’s classic vaporwave style with chopped & screwed samples pulled from George Clanton’s own songs, inspired by two years of touring with nothing but a Roland SP 404-SX.

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Punk Rock / Rock

POP Montréal 2026 : Dune Rats, Boy Wonder et The Lookout au Bar Le Ritz PDB

by Rédaction PAN M 360

Dune Rats

Depuis longtemps, les Dune Rats incarnent l’esprit « faites-le vous-même » du punk rock, une tradition profondément ancrée dans la scène musicale de Brisbane. Dès les débuts de groupes comme The Purple Hearts et The Saints, Brisbane a été un véritable vivier de musique rebelle et énergique, et les Dune Rats ne font pas exception. Depuis leur formation, le trio – Danny Beus (chant, guitare), BC Michaels (batterie) et Brett Jansch (basse) – s’est fait un nom grâce à son attitude contagieuse et insouciante, et à son talent pour créer des hymnes punk déchaînés et entraînants, à la fois sauvages et raffinés.

Dune Rats have long embodied the do-it-yourself ethos of punk rock — a tradition deeply rooted in Brisbane’s music scene. From the early days of bands like The Purple Hearts and The Saints, Brisbane has been a breeding ground for rebellious, high-energy music, and Dune Rats are no exception. Since their formation, the trio — Danny Beus (vocals, guitar), BC Michaels (drums), and Brett Jansch (bass) — have made a name for themselves with their infectious, carefree attitude and their knack for creating raucous, feel-good punk anthems that somehow manage to sound both reckless and refined.

Boy Wonder

boy wonder est un musicien et cinéaste de Toronto. Il n’est pas le producteur de Drake.

boy wonder is a musician and filmmaker from Toronto. He is not Drake’s producer.

The Lookout

The Lookout est une formation punk n roll de Montréal menée de front par Martha Rockhard! Très active depuis quelques années dans la scène montréalaise et un peu partout au Québec, la formation a un premier album intitulé « I Know The Future » qui est paru en octobre 2024 sur l’étiquette Thousand Islands Records. Leur performance énergique sur scène, qui ne passe pas inaperçue, leur a permis de se tailler une place dans plusieurs événements d’envergures tels que le ‘77 Montréal, le Pouzza Fest, NXNE Toronto, Osisko en lumières, Festirock, Envol & Macadam, Music 4 Cancer, Bitchfest Toronto, Le Déluge, ainsi que plusieurs premières parties de groupes renommés. Word on the street is The Lookout is FUN!

The Lookout is a melodic punk n roll band from Montreal fronted by the dynamic Martha Rockhard! Active in the local scene as well as in the rest of Quebec for several years now, the band has a new record in hand call “ I Know The Future” on Thousand Islands Records and have been all around Quebec and Ontario in the past year! Their head-turning energetic performances have landed them on the rosters of some of the big festivals (NXNE Toronto, ’77 MTL, Pouzza Fest, Envol & Macadam, Osisko en lumières, Music 4 Cancer, Festirock, Le Déluge) and as opening acts for several renowned bands. Word on the street is The Lookout is FUN!

POUR ACHETER VOTRE BILLET, C’EST ICI!

Ce contenu provient de POP Montréal et est adapté par PAN M 360

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