MUTEK : MÉTROPOLIS 2 au MTelus

by Rédaction PAN M 360

Métropolis prend le contrôle du MTELUS les vendredi et samedi soirs, avec deux nuits dédiées aux musiques électroniques les plus physiques et hypnotiques.
Portée par des performances en direct qui nous plongent dans la house et le dub-techno, la soirée Métropolis 2 est le rendez-vous du clubbing. Dans un équilibre sensible entre introspection et liberté, cet événement invite à partager, ressentir et surtout danser sans contrainte.

Métropolis takes over MTELUS on Friday and Saturday nights with two evenings dedicated to the most physical and hypnotic forms of electronic music.
Driven by live performances that dive into house and dub-techno, Métropolis 2 is a haven for dance floor devotees. Striking a delicate balance between introspection and freedom, the night invites you to share, feel, and above all, dance without restraint.

RAMZi

RAMZi est le projet solo de Phoebé Guillemot, musicienne, DJ et artiste multidisciplinaire basée à Tiohtià:ke/Mooniyang/Montréal. Depuis 2012, elle façonne un monde sonore hybride où les textures électroniques côtoient des instruments acoustiques, des voix transformées et des paysages sonores en mutation. Son alter ego, RAMZi, s’incarne en esprit-animal sylvestre, gardien d’un écosystème imaginaire qui oscille entre mémoire, mythe et technologie.

RAMZi is the solo project of Tiohtià:ke/Mooniyang/Montréal-based musician, DJ, and multidisciplinary artist Phoebé Guillemot. Since 2012, she has developed a richly textured sonic world where electronic elements weave with acoustic instrumentation, processed voices, and evolving soundscapes. RAMZi emerges as a forest spirit—part myth, part avatar—watching over an alternate ecosystem shaped by the frictions and harmonies between nature and technology, nostalgia and futurism.

Satoshi Tomiie

Satoshi Tomiie est une figure incontournable de la musique électronique depuis ses débuts aux côtés de Frankie Knuckles sur le morceau culte Tears. Né au Japon et basé à New York, il a contribué à forger le son House originel tout en faisant constamment évoluer son approche artistique. Pianiste formé au classique et au jazz, il insuffle une musicalité rare à ses productions et performances. DJ et producteur respecté à l’échelle internationale, il se produit régulièrement dans les clubs et festivals majeurs en Europe, en Amérique et en Asie, livrant des sets visionnaires à la croisée de la house, de la techno et des pistes expérimentales. Il publie sur son propre label Abstract Architecture, ainsi que sur A_A, Yoyaku, Phonogramme ou encore 2020 Vision.

Satoshi Tomiie has been a pioneering force in electronic music since co-producing the seminal track Tears with Frankie Knuckles. Born in Japan and based in New York, he helped define the early house sound while continuously evolving his artistry across decades. A classically trained and jazz-influenced pianist, Satoshi brings a rare musicality to his productions and performances. As a globally respected DJ and producer, he has performed at top clubs and festivals across Europe, the Americas, and Asia, known for forward-thinking sets that connect house, techno, and experimental textures. He continues to release on his imprint Abstract Architecture, as well as notable labels like A_A, Yoyaku, Phonogramme, and 2020 Vision.

Nicola Cruz

Nicola Cruz construit un dialogue intime entre musique électronique et traditions folkloriques. Puisant dans ses racines latino-américaines et une curiosité sonore sans limites, il façonne ses sets en direct, mêlant textures modulaires, enregistrements de terrain et rythmes dans un paysage sonore en perpétuelle évolution. Un voyage transcendant entre passé, présent et futur.

Nicola Cruz crafts a deeply personal dialogue between electronic music and folkloric traditions. Drawing from Latin American roots and a sonic curiosity, he shapes each set live, blending modular textures, field recordings, and rhythms into a constantly evolving soundscape. A transcendent journey that connects past, present, and future.

Hodge

Avec Two Moons, Hodge transforme l’énergie brute des clubs en un tourbillon sonique. Percussions percutantes, basses massives et textures futuristes s’unissent dans une performance intensément physique et mentale. Figure phare de la scène de Bristol, il livre ici un set qui fait vibrer autant qu’il captive.

Hodge channels raw dancefloor energy into Two Moons, a high-impact set rooted in Bristol’s techno-bass DNA. Expect thunderous percussion, deep rhythm science, and sci-fi atmospheres from one of UK club music’s most inventive minds. This is sound system music at its most explosive—built for the body and the imagination.

Cassy

Cassy est une DJ, productrice et fondatrice de label emblématique, dont le récent retour aux sources, annonce une nouvelle ère vibrante. Née en Angleterre et ayant grandi en Autriche, elle façonne la scène mondiale des musiques électroniques depuis plus de vingt ans, de Berlin à New York en passant par Ibiza. Formée chez Hard Wax et résidente de clubs mythiques comme le Panorama Bar, Trouw et DC-10, Cassy développe un style intuitif et organique, oscillant entre house, techno et atmosphères dub. Sa démarche artistique est guidée par une quête d’authenticité, inspirée notamment par Larry Levan.

Cassy is a trailblazing DJ, producer, and label head whose renewed connection to her roots signals an exciting new era. Born in England and raised in Austria, she has spent over two decades shaping the global dance music scene, from Berlin to New York to Ibiza. Deeply influenced by her formative years at Hard Wax and legendary residencies at Panorama Bar, Trouw, and DC-10, Cassy’s sound blends house, techno, and dubby atmospheres with an intuitive, soul-driven touch. Her musical ethos reflects a commitment to authenticity, inspired by icons like Larry Levan.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

DJ set / Electronic / Techno

MUTEK : EXPÉRIENCE 5 à l’esplanade Tranquille

by Rédaction PAN M 360

Expérience investit l’esplanade Tranquille, au cœur de Montréal, tous les jours dès 17h avec une programmation gratuite en plein air.
Pensée comme un lieu de passage et de rassemblement, la série propose un large éventail de performances musicales, entre découvertes locales et artistes internationaux.
Elle reflète l’ouverture esthétique du festival et favorise une rencontre naturelle entre les publics, les styles et les rythmes.

MUTEK’s Expérience series takes over l’esplanade Tranquille with free open-air performances every day from 5PM.
Conceived as a gathering place, the series offers a wide range of musical performances, from local discoveries to international artists.
It reflects the festival’s aesthetic openness and encourages a natural meeting point between audiences, styles and rhythms.

Lisa Pulsatilla

Sous l’alias Lisa Pulsatilla, la flûtiste et musicienne électronique Lisa Teichmann façonne des paysages sonores où le souffle devient matière vibratoire et vecteur d’émotion. Originaire de Berlin et basée à Montréal, elle allie flûte et traitement électronique via un pédalier conçu sur mesure, créant des textures organiques et méditatives qui explorent les liens entre mélodie, harmonie et guérison sonore. Chercheuse postdoctorale au CRIHN (Université de Montréal), elle développe une approche artistique ancrée dans le corps et la mémoire sensorielle. Sur scène, elle superpose boucles, delays, modulations et panoramiques pour transcender les limites monophoniques de la flûte et composer des environnements polyphoniques envoûtants. Son travail a accompagné diverses œuvres visuelles, dont Seeking Stillness de George Fok (PHI, 2020), le documentaire Portrait de Pierre Bourgault de Sarah Seené, ainsi que le court-métrage are you haunted, daddy? de Guillaume Vallée. Elle évolue également au sein des projets Goodsine, LoSignal (CKUT 90.3 FM) et du collectif ShyGirls, avec des parutions chez Sound as Language, DMT Records, Jeunesse Cosmique et Crochet Disque.

Performing as Lisa Pulsatilla, Berlin-born flutist, electronic musician, and researcher Lisa Teichmann creates immersive soundscapes where the breath becomes both medium and message. Now based in Montréal, she merges the acoustic intimacy of the flute with hardware-driven electronic processing to explore themes of trauma, emotion, and vibrational healing. Her solo performances use a carefully constructed pedalboard—originally built for other instruments but adapted to preserve the natural resonance of the flute. Through live layering, delay, modulation, and stereo imaging, she expands the instrument’s monophonic limits to build rich, evolving textures where melody, drone, and harmony intertwine. Active in both academic and artistic spheres, Teichmann is a postdoctoral researcher at the Université de Montréal’s CRIHN, and has contributed sound work to George Fok’s Seeking Stillness (PHI, 2020), Sarah Seené’s documentary Portrait de Pierre Bourgault, and Guillaume Vallée’s short film are you haunted, daddy?. She is also part of the ShyGirls collective, Goodsine, and LoSignal (CKUT 90.3 FM), with releases on Sound as Language, DMT Records, and others.

DJ Oil

DJ Oil, alias Lionel Corsini, est un producteur et DJ basé à Marseille dont le parcours s’étend sur plus de vingt ans. Membre fondateur du groupe Troublemakers, signé chez Blue Note au début des années 2000, il a contribué à établir une esthétique trip-hop française nourrie de jazz, de hip-hop instrumental et de sons organiques.

DJ Oil, also known as Lionel Corsini, is a Marseille-based producer and DJ with a career spanning over two decades. A founding member of the group Troublemakers, signed to Blue Note in the early 2000s, he helped shape a distinctly French take on trip-hop, blending jazz, instrumental hip-hop and field-recorded textures.

Baby Volcano

Baby Volcano, alias de l’artiste helvético-guatémaltèque Lorena Stadelmann, fait vibrer les scènes avec des performances où s’entrelacent corps, sons et émotions à l’état brut. Formée en danse contemporaine et en théâtre à Buenos Aires, elle insuffle une intensité viscérale et une dimension scénique rare à ses concerts, devenus sa signature.

Swiss-Guatemalan artist Baby Volcano, the alias of Lorena Stadelmann, channels her background in contemporary dance and performance into a musical world that’s as theatrical as it is emotionally raw. Since the release of her striking debut EP Síndrome Premenstrual, she has made a name for herself with genre-defiant live shows that fuse visceral energy, political edge, and poetic vulnerability.

RICO X PARIA Ensemble

RICO X PARIA Ensemble fusionne rythmes afro-caribéens, électronique expérimentale et la voix percutante de RICO RICA dans une réinvention musicale éclatante. Improvisation en direct, instruments traditionnels et manipulations sonores instantanées par Bclip créent un espace libre où s’entrechoquent héritage et futurisme débridé. Une section du spectacle (10 à 15 minutes) accueille l’accordéoniste Jose Daniel Rico Nieves (COL) et le percussionniste Elias Musiak (ARG), enrichissant la performance d’une rencontre musicale intense et spontanée.

RICO X PARIA Ensemble fuses Afro-Caribbean rhythms, experimental electronics, and RICO RICA’s commanding vocals in a vibrant act of sonic reinvention. With live improvisation, folkloric instruments, and real-time sound manipulation by Bclip, the performance ignites a boundary-defying space where tradition meets radical futurism. A 10–15-minute section features accordionist Jose Daniel Rico Nieves (COL) and percussionist Elias Musiak (ARG), intensifying this spontaneous musical encounter.

Bitter Babe

Pour sa première performance live à MUTEK Montréal, Bitter Babe livre un set percutant, traversé de rythmes éclatés et de textures mouvantes. Entre tension, douceur et chaos maîtrisé, elle explore toute la charge émotionnelle d’une club music latine en pleine mutation.

Bitter Babe’s debut live set at MUTEK Montréal promises a raw, high-voltage trip through fractured rhythms and volatile textures. Balancing bass-heavy intensity with moments of softness and dissonance, her performance shifts from collapse to control in a heartbeat—channeling the full emotional spectrum of future-facing Latin club music.

CE SPECTACLE EST GRATUIT!

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

classique / période romantique

L’OSM dans les parcs – Montréal

by Rédaction PAN M 360

Partagez des moments inoubliables en famille ou entre amis avec les concerts gratuits de l’OSM dans les parcs, magistralement dirigés par Rafael Payare et animés avec brio par André Robitaille. Savourez la douceur d’une soirée estivale et découvrez Dmytro Udovychenko, jeune prodige et lauréat du Concours musical international de Montréal 2023. Il vous touchera avec la tendre Méditation de Thaïs et vous éblouira dans le spectaculaire Rondo capriccioso de Saint-Saëns. Laissez-vous également entrainer par les rythmes endiablés des célèbres danses du Prince Igor de Borodine. L’OSM dans les parcs : une occasion rêvée de danser sous les étoiles tout en découvrant ou redécouvrant la magie de la musique classique dans une ambiance festive et conviviale!

This summer, create unforgettable moments with family and friends at the OSM’s free park concerts, masterfully conducted by Rafael Payare and hosted by the one and only André Robitaille. While you enjoy the charm of a summer evening, you’ll have the chance to discover Dmytro Udovychenko, a young prodigy and winner of the 2023 Concours musical international de Montréal. Prepare to be moved by Udovychenko’s tender rendition of the “Meditation from Thais” and captivated by his dazzling interpretation of Ravel’s Tzigane. Plus, you’ll be swept away by the frenzied rhythms of the famous “Polovtsian Dances” from Borodin’s Prince Igor. The OSM in the Parks concerts provide the perfect opportunity to dance under the stars while embracing the beauty of classical music in a festive and welcoming atmosphere!

Programme

Gioacchino Rossini, Guillaume Tell : « Ouverture »
Jules Massenet, Thaïs : « Méditation de Thaïs »
Alexandre Borodine, Prince Igor : « Danses polovtsiennes »
Camille Saint-Saëns, Introduction et Rondo capriccioso, op. 28 —Dmytro Udovychenko, violon
Arturo Márquez, Danzon no 2

Program

Gioacchino Rossini, William Tell: “Overture”
Jules Massenet, “Meditation from Thais” — Dmytro Udovychenko, violin
Alexandre Borodine, “Polovtsian Dances”
Camille Saint-Saëns, Introduction and Rondo capriccioso, op. 28 —Dmytro Udovychenko, violin
Arturo Márquez, Danzon no 2

CE SPECTACLE EST GRATUIT!

Ce contenu provient de l’OSM et est adapté par PAN M 360

DJ set / IDM / Techno

MUTEK : Piknic Electronik MTL #11

by Rédaction PAN M 360

Les détenteur·trice·s d’un Passeport ou d’une Passe Weekend MUTEK accèdent gratuitement au Piknic Électronik MTL #11 sur présentation de leur bracelet à l’entrée de l’événement.

MUTEK Passport or Weekend Pass holders have free access to Piknic Electronik MTL #11 upon presentation of their wristband at the entrance to the event.

Priori

Sous le pseudonyme de Priori, le musicien québécois Francis Latreille s’est imposé comme une voix incontournable de la techno underground. À travers une discographie vaste, incluant deux albums complets, plusieurs EPs, et de nombreux projets collaboratifs, Priori construit un univers hyper-détaillé, ancré dans la science-fiction et la fantaisie, situé quelque part entre le biologique et le synthétique, l’actuel et le possible. La musique de danse minutieusement façonnée de Priori est remplie de motifs fractals, de textures saisissantes et de mélodies cristallines qui émergent et scintillent avec une précision impressionnante ; elle est évocatrice, envoûtante et toujours en mouvement.
Priori est également un ingénieur du son accompli, ayant travaillé avec James K, Bambii, Maara, Ex-terrestrial, Roza Terenzi, D.Tiffany, Regular Fantasy, Ramzi, URA et bien d’autres. En tant que membre du duo NAFF recordings et du studio d’enregistrement Jump Source, Priori façonne progressivement l’avenir de la musique électronique underground au Canada et à l’étranger. Le 30 mai 2024, il a sorti son troisième album complet. Intitulé This but More, l’album voit Priori s’éloigner du club pour privilégier un espace plus contemplatif, produisant des compositions électroniques mêlées d’instrumentation acoustique et de traitement spectral. L’album comprend un livret d’histoires suggérées par Devon Hansen et des visuels animés de Jack Anderson.

Under the Priori moniker, Québecois musician Francis Latreille has established himself as a crucial voice in underground techno. Across a sprawling discography, including two full length albums, several eps, and a host of collaborative projects, Priori builds a hyper-detailed world steeped in science fiction and fantasy, residing somewhere between the biological and the synthetic, the actual and the possible. Priori’s meticulously crafted dance music is full of fractalizing patterns, ear-prickling textures, and crystalline melodies that emerge and flicker in stunning detail; it is evocative, enchanting, and always moving.
Priori is also an accomplished mixing engineer who has worked with James K, Bambii, Maara, Ex-terrestrial, Roza Terenzi, D.Tiffany, Regular Fantasy, Ramzi, URA and many more. As one half of NAFF recordings and the Jump Source recording studio, Priori is steadily shaping the course of underground electronic dance music in Canada and abroad. On May 30th, 2024, released his third full length album. Entitled This but More, the record sees Priori sidestepping the club in favor of a more contemplative space, yielding electronic compositions layered with acoustic instrumentation and spectral processing. The album includes a booklet of suggested stories by Devon Hansen and animated visuals by Jack Anderson.

Nick León

Nick León crée une musique de club dystopique qui échantillonne les sons des écosystèmes divers de la Floride, mais son style a évolué audacieusement au fil du temps. Après avoir débuté dans la scène rap SoundCloud du sud de la Floride à un jeune âge, il s’est rapidement tourné vers les sonorités latines en provenance de Porto Rico et de Colombie pour ses propres créations. Depuis lors, Nick León a sorti son très acclamé EP Xtasis sur TraTraTrax, qui a présenté DJ Babatr en 2022 et a inclus des crédits de production d’artistes défiant les genres comme Rosalía, Tokischa et Oklou. Sa collaboration de 2024 avec Erika De Casier, intitulée Bikini, sortie sur TraTraTrax, a été saluée comme l’un des, sinon le meilleur morceau de l’année par des médias tels que Pitchfork, The Guardian, Crack et Resident Advisor.

Nick León’s dystopian club music samples the sounds of Florida’s diverse ecosystems, but his style has varied fearlessly along the way. After starting out in the South Florida SoundCloud rap scene at a young age, he gravitated early towards the Latin sounds coming out of Puerto Rico and Colombia for his own work. Since then, Nick León released his highly acclaimed Xtasis EP on TraTraTrax, which featured DJ Babatr in 2022 and included production credits from genre-defying artists like Rosalía, Tokischa, and Oklou. His 2024 Bikini collaboration with Erika De Casier, released on TraTraTrax, has been heralded as one of, if not the best, tracks of the year by outlets such as Pitchfork, The Guardian, Crack, and Resident Advisor.

Ciel

Ciel est une artiste aux multiples facettes dont les racines s’étendent de Xi’an, en Chine, à Toronto, au Canada, où elle est devenue une figure clé de la scène de la musique électronique. Pianiste classique de formation devenue productrice, DJ et animatrice radio, Ciel incarne un mélange de prouesse technique et d’intuition créative. Elle a cofondé le label Parallel Minds, a joué un rôle clé dans des projets tels que le collectif de DJ femmes et LGBTQIA+ Discwoman, et maintient une résidence mensuelle sur Rinse FM depuis 2018. Sa musique, caractérisée par des textures oniriques et des lignes de basse robustes, explore les intersections de mélodies New Age et de percussions dynamiques, créant des paysages sonores à la fois introspectifs et revigorants. La discographie de Ciel comprend des EP acclamés par la critique tels que Electrical Encounters et Hundred Flowers, ainsi que des sorties collaboratives sous des noms tels que Psychedelic Budz avec D. Tiffany et Cloudsteppers avec Dan Only.

Ciel, born Cindy Li, is a multifaceted artist whose roots stretch from Xi’an, China, to Toronto, Canada, where she has become a pivotal figure in the electronic music scene. As a classically trained pianist turned producer, DJ, and radio host, Ciel embodies a blend of technical prowess and creative intuition. She co-founded the label Parallel Minds and has been instrumental in projects like the women & LGBTQIA+ DJ collective Discwoman, while also maintaining a monthly residency on Rinse FM since 2018. Her music, marked by dreamy textures and robust basslines, explores the intersections of New Age melodies and dynamic percussion, creating soundscapes that are both introspective and invigorating. Ciel’s discography includes critically acclaimed EPs such as Electrical Encounters and Hundred Flowers, alongside collaborative releases under names like Psychedelic Budz with D. Tiffany and Cloudsteppers with Dan Only.

Stacey « Hotwaxx » Hale

Tant qu’il y aura de la musique et des danseur·euse·s passionné·e·s, nous aurons toujours besoin de la marraine de la musique house, DJ Stacey « Hotwaxx » Hale. La première femme house de Detroit joue des tubes pour les planchers de danse et des mélodies orchestrales avec des fusions de musique en direct. Hotwaxx Hale a eu un impact considérable sur la culture musicale américaine, que ce soit en jouant dans des théâtres célèbres comme l’Apollo New York et le Fox Detroit, ou dans des clubs de musique dance underground légendaires comme le Studio 54 et The Warehouse. Elle est actuellement résidente au Spotlite Detroit, au Marble Bar et au Panorama Berlin. Elle est également présente sur la scène internationale, avec des performances à Londres, Ibiza, en France, au Mexique, à Berlin, Amsterdam, Toronto et à travers les États-Unis.

For as long as there is music and those who faithfully dance, there will always be a need for the Godmother of House Music, DJ Stacey “Hotwaxx” Hale. Detroit’s 1st female of house music plays dance floor bangers and orchestral melodies with live music fusions. Hotwaxx Hale has made a massive impact in American music culture, whether it’s playing in famous theaters like the Apollo New York and the Fox Detroit, or legendary underground dance music clubs like Studio 54 and The Warehouse. Currently, she holds residence at Spotlite Detroit, & Marble Bar, and Panorama Berlin. She also has an international presence, which includes performances in London, Ibiza, France, Mexico, Berlin, Amsterdam, Toronto, and across the USA.

Ma Sha

Basée à New York, Ma Sha est une productrice, DJ et fondatrice de label dont l’approche électrisante de la musique club expérimentale s’impose comme une force incontournable dans l’underground mondial. Depuis la création de la série d’événements Kindergarten en 2017, elle façonne un univers sonore singulier où pulsations brutes et élan rythmique fusionnent avec intensité. Son esthétique puise dans les racines techno des deux côtés de l’Atlantique, combinant structures percussives déformées et textures basses à haute tension. Issue de la scène DIY et membre du duo Sha Ru, Ma Sha se distingue par une démarche axée sur l’exploration sonore et la création collective. À la tête du label Kindergarten Records, elle défend une vision audacieuse du club, mêlant genres et énergies insaisissables. On retrouve ses productions sur des labels tels que Steel City Dance Discs, Nervous Horizon ou encore TraTraTrax, toutes marquées par des rythmes rebondissants et une frappe métallique.

Ma Sha is a New York-based producer, DJ, and label head whose electrifying take on experimental club music has become a vital force in the global underground. Since co-founding the event series Kindergarten in 2017, she has cultivated a distinct sonic universe that bridges raw rhythm with dancefloor dynamism. Rooted in the transatlantic techno continuum, her sound channels high-voltage energy through warped percussive forms and bass-heavy textures. Drawing from her experience as one half of the duo Sha Ru and her upbringing within a vibrant DIY scene, Ma Sha’s work reflects a deep commitment to sonic exploration and community building. As the founder of Kindergarten Records, she curates forward-facing club releases that blur genre lines and invite kinetic engagement. Her productions, featured on labels like Steel City Dance Discs, Nervous Horizon, and TraTraTrax, are known for their ricocheting rhythms and metallic impact.

Hodge

Figure incontournable de la scène club, Hodge, de son vrai nom Jacob Martin, insuffle l’énergie brute du soundsystem de Bristol dans une techno percussive et chargée en basses, aussi percutante que subtile. Producteur insatiable et DJ reconnu pour ses sets explosifs, il brouille avec agilité les frontières entre techno, dubstep, house et bass music britannique. Il débute dans les années 2010 avec le projet house Outboxx (en duo avec Matthew Lambert), avant de se tourner vers des sonorités plus sombres et abstraites. Ses sorties sur des labels clés comme Livity Sound, Hemlock, Tempa ou Berceuse Heroique l’imposent rapidement comme l’un des chefs de file de la génération post-dubstep. Des collaborations avec Peverelist, Laurel Halo ou encore Peder Mannerfelt viennent enrichir sa palette sonore déjà bien étendue.

A vital force in the UK’s club underground, Hodge—aka Jacob Martin—channels Bristol’s deep-rooted sound system culture into a bass-heavy, percussive techno language that’s both thrillingly visceral and emotionally nuanced. Known for his shape-shifting productions and raucous DJ sets, he navigates the friction points between techno, dubstep, house, and UK bass with rare finesse. Emerging from Bristol’s fertile scene in the early 2010s, Hodge first made waves alongside Matthew Lambert in the house duo Outboxx before diving deeper into darker, more rhythmically complex terrain. Key releases on Livity Sound, Berceuse Heroique, Hemlock, and Tempa established him as a central figure in the post-dubstep generation—an artist who embraces club functionality without compromising sonic curiosity. Collaborations with UK innovators like Peverelist, Laurel Halo, and Peder Mannerfelt have further shaped his stylistic breadth.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

Brazilian / Forró / latino

JØY Brandt’s Joie de Vivre

by Sandra Gasana

You may be familiar with this name, as I mentioned it in my review of the Gilsons concert, where she was the opening act. This time, the Toronto-based artist returned to Montreal as part of a trio, accompanied by Mari Palhares on percussion and Samyle Carvalho on guitar and backing vocals. JØY, meanwhile, plays several instruments during her songs, including the triangle and kazoo, which I discovered that evening.

She began a cappella, her voice rising in a crescendo. She started with her own original compositions, such as A Calma Acalma and Vem, before performing a few covers of Brazilian classics, such as Morena Tropicana, which was very well received. The venue filled up as the evening progressed, mainly with Brazilians and fans of Brazilian music.

Some parts of the concert felt like spiritual ceremonies, with JØY occasionally attempting to express herself in French before returning to Portuguese.

“I am a Brazilian and Canadian singer and songwriter, and I come from northeastern Brazil,” she tells us.

The synergy with her musicians was palpable, particularly with guitarist Samyle, who had a smile on her face throughout the concert. In addition to her impressive guitar playing, she also provided backing vocals on several songs.

“The next song is about our thoughts on our worldview and how we use our time,” she says between songs. The party really got going when she sang Vumbora Amar and the whole room started dancing and clapping along. JØY seems to enjoy forró, a Brazilian music style from her region, the Northeast, while adding Latin and folk rhythms.

Curiously, there was no admission fee for the concert, as the artist opted for voluntary contributions, which the audience generously provided. Her manager, Ulysses de Paula of Showzaço Productions, was on hand to collect the contributions. He is behind many of the concerts by Brazilian artists in Canada.

She ended the concert with a walkabout, while the guitarist took over on vocals. She danced steps that seemed to come from her region, moving to the center of the circle surrounded by happy spectators.

“I’m going home with my heart full of joy,” she says in conclusion, before making way for the next group. My favorite was undoubtedly her cover of Tô Sem Você, a song I discovered this year and which is currently in my top three Brazilian songs.

This concert allowed Montrealers to discover her, and others to see her again, but it doesn’t seem like this will be the last time we see her in the city. She has a large network of Brazilian artists based in Montreal, and it was with them that she continued the evening in a more intimate “roda de samba” style, until we see her again on an even bigger stage than the Marche à côté.

classic rock / Pop-Rock / rock n’ roll

Paul McCartney au Centre Bell

by Rédaction PAN M 360

LA TOURNÉE SE POURSUIT !
La tournée ‘Got Back’ de Paul McCartney s’arrête au Centre Bell le 17 et 18 novembre prochain!
Un catalogue légendaire réunissant les classiques des Beatles, de Wings et de sa carrière solo.

THE TOUR CONTINUES!
Paul McCartney’s ‘Got Back’ tour is coming to the Bell Centre on November 17 and 18 ! With an unmatched catalogue including The Beatles, Wings and McCartney solo.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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

Electronic / House / percussions

MUTEK : EXPÉRIENCE 1 à l’esplanade Tranquille

by Rédaction PAN M 360

Valentina Magaletti

Basée à Londres, l’artiste italienne, Valentina Magaletti, est une batteuse, compositrice et multi-instrumentiste dont l’approche inventive de la percussion brouille les frontières entre son, texture et matière. Alliant techniques traditionnelles et pratiques expérimentales, elle compose des œuvres tactiles et évolutives où le rythme devient un langage narratif. Sa pratique oscille entre jeu structuré et improvisation libre, utilisant micros de contact, objets trouvés et instruments atypiques pour révéler les qualités sonores cachées de la matière. Qu’elle joue sur une batterie en céramique ou construise des paysages rythmiques denses à partir de dispositifs modulaires, Magaletti conçoit la percussion comme un terrain d’exploration émotionnelle et intuitive.

Based in London, Valentina Magaletti is an Italian drummer, composer, and multi-instrumentalist whose inventive approach to percussion blurs the lines between sound, texture, and material. Embracing both traditional techniques and experimental practices, she creates tactile, evolving compositions that turn rhythm into a form of storytelling. Her practice draws equally from structured playing and free improvisation, often using contact microphones, found objects, and unconventional instruments to reveal hidden sonic qualities. Whether performing delicate pieces on a ceramic drum kit or building dense rhythmic worlds through modular setups, Magaletti treats percussion as a medium for narrative and emotional exploration.

Stephen Beaupré – Return

Figure incontournable de la scène électronique montréalaise, Stephen Beaupré façonne depuis plus de vingt ans une micro-house vibrante et singulière. Entre samples vocaux ciselés, rythmiques imprévisibles et synthés luxuriants, sa musique navigue entre euphorie, nostalgie et curiosité sonore.
Révélé comme moitié du duo Crackhaus avec Deadbeat (Scott Monteith), il se fait remarquer en solo avec Foe Destroyer en 2006, puis signe sur des labels de référence comme Circus Company, Wagon Repair ou Perlon. En 2010, il élargit sa démarche avec Gemmiform, projet audiovisuel immersif avec Nancy Belzile, Patrick Bernatchez et David Fafard.

A vital figure in Montréal’s electronic underground, Stephen Beaupré has spent over two decades crafting micro-house and techno with a playful yet emotional edge. Known for his intricate vocal sampling, syncopated grooves, and lush synth work, his music radiates joy, nostalgia, and experimental spirit.
Beaupré first emerged as one half of Crackhaus, the beloved duo formed with Deadbeat (Scott Monteith), before releasing his acclaimed solo debut Foe Destroyer in 2006. Since then, he’s released on labels like Circus Company, Wagon Repair, and Perlon. In 2010, he expanded his vision through Gemmiform, an ambitious audiovisual collaboration with visual artists Nancy Belzile, Patrick Bernatchez, and David Fafard.

DJ set surprise

CE SPECTACLE EST GRATUIT!

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

Ambient / Electronic / Techno

MUTEK : Max Cooper présente Lattice 3D/AV au Théâtre Maisonneuve

by Rédaction PAN M 360

À l’occasion de la 26e édition du Festival MUTEK, l’artiste et compositeur britannique Max Cooper présente sa dernière expérience audiovisuelle, Lattice 3D/AV, ainsi que son nouvel album On Being.
Lattice 3D/AV de Max Cooper est son système live le plus ambitieux à ce jour, offrant une expérience unique permettant au public d’interagir avec sa vision expérimentale.
Créée en collaboration avec Architecture Social Club, Lattice 3D/AV combine projections, couches semi-transparentes, lumières et lasers pour créer des images dynamiques et extrudées. Ces éléments s’étendent des écrans vers le public, formant des sculptures lumineuses qui donnent vie aux thèmes de On Being, accompagnées de nouvelles collaborations visuelles et de sélections du catalogue complet de Cooper.

For the 26th edition of the MUTEK Montréal festival, British artist and composer Max Cooper presents his latest audiovisual experience, Lattice 3D/AV, as well as his new album On Being.
Max Cooper’s Lattice 3D/AV is his most ambitious live system to date, offering a one-of-a-kind experience for audiences to engage with his experimental vision.
Created in collaboration with Architecture Social Club, Lattice 3D/AV combines projections, semi-transparent layers, lights, and lasers to create dynamic, extruded imagery. These elements extend off the screens into the audience, forming light sculptures that bring the themes of On Being to life, alongside new visual collaborations and selections from Cooper’s full back catalogue.

LES BILLETS POUR CE SPECTACLE SONT ÉPUISÉS!

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

période romantique

Classical Spree 2025 | Dances with animals

by Frédéric Cardin

The Obiora ensemble, a classical orchestra made up of musicians from diversity, was on the stage of the Maison symphonique yesterday afternoon, for an attractive program, marked “for the whole family.” And the whole family was there, especially the little ones who squirm and whisper. It makes me happy to witness these kind of events, and I recommend parents not to scold their kids too much when they move a little in their seats. That’s what those concerts are for! Don’t make them feel too much that the concert is a constraint. In short, there was some chirping (a little), but it was quite alright.

WATCH THE INTERVIEW WITH ALLISON MIGEON FROM OBIORA ABOUT THIS CONCERT (in French)

The program, conducted by Rafael Payare, began with a very pretty four-movement string piece by African-American Quinn Mason, Irish Dance Suite, illustrated by Kanyen’kehà:ka (Mohawk) artist Kaiatanoron Dumoulin Bush. Each of the four movements was accompanied by an illustration constructed live on the big screen by the young lady. We wondered a bit where it was going, because the abstract lines drawn all looked alike, but in slightly different configurations. It looked like braids of hair intertwined with leaves. It was only at the very end that the complete design, bringing all the parts together, allowed one to perceive a sort of Celtic symbol (it seems to me), constructed with plant motifs. Very pretty, but a little difficult to follow for very young children. Mason’s music is of the very popular pleasure type, with frank melodies, graceful rhythms, fortunately not too heavy on the cliché side. A piece that is certainly very successful with youth string orchestras.

The Carnival of the Animals, which everyone was eagerly anticipating, also received unprecedented support. And it was the latter that completely stole the show and won over the fairly large audience. The choreographer Charles Brécard, that I would qualify as Fluid Man, so smooth are his movements, almost liquid, illustrated each movement of Camille Saint-Saëns’ masterpiece with as much humour as originality. He mostly avoided “mimicking” the creatures of the score. Oh, there was an elephant’s trunk suggested with a handkerchief and swan wings, but Brécard mostly characterised other aspects of the music. The rhythms, for example, on which (Fossils et Finale) he crossed contemporary dance, hip hop and street dance.

Some of the pieces could easily be seen at the JOAT street dance festival, which takes place in Montreal at the end of August. He also got the whole crowd involved, without a word, in the famous Aquarium (fish) with undulating hand movements that you might see at pop concerts. Elsewhere the artist would collapse like a rag, fall gracefully off the stage and try to get back on, or roll around on the floor. The children loved it, the parents did too, and even people who don’t usually like dance very much (I know some) thought it was very successful.

Charles Brécard should tour with this concept. I can easily see any orchestra in the world attracting a family audience with this, and give an interesting alternative to the usual narrated version.

Modern Classical / période romantique

Classic Spree 2025 | Music of a lifetime, marked by youth

by Frédéric Cardin

The pianist Godwin Friesen is a holistic talent. The winner of the 2022 OSM Competition excels in both concertante and chamber ensembles, as well as solo performances. In addition, he composes, and very well! Yesterday afternoon, at the Cinquième Salle of the Place des Arts complex, the young man from the Prairies, now living in Montreal, impressed everyone in a concert focused, ironically, on a string quartet! That is, the Quartet No. 1 in E minor “From My Life” by Bedřich Smetana, the focus of the title and promotion of this concert, was preceded by the juvenile Trio No. 1, for piano, violin and cello by Dmitri Shostakovich (he composed it at the age of 16) and, another manifestation of early writing talent, two pieces by Friesen himself, one of which was a world premiere. The Shostakovich still betrays Rachmaninov influences, but it also lets through some of the rough edges that would become the composer’s trademark.

The music was brought to life by the three artists, and particularly Friesen on the piano, creator of sparkling colours and impeccable fluttering sound clusters. The young man’s two pieces, The Heavens Declare and A Tent for the Sun, are as much inspired by the text of Psalm 19 as by nature, and are expressed in a seductive, neo-romantic language. Friesen knows how to handle complexity and surprise while remaining accessible and interesting, even seductive. Frankly, I am very much looking forward to hearing more from him!

The Smetana Quartet, which finally arrived, allowed three very young recruits of the OSM to showcase their talents, including the exceptional Sebastian Gonzalez Mora on the viola. What a sound (and physical) presence he exudes. The Orchestra would do well to give him as much space as possible in the future. I also greatly appreciated the playing of the first violin, Sydney Adedamola. On the other hand, it seemed to me that the sound of the second violin, Justin Saulnier, was often too harsh in the more vigorous moments.

That said, it was a beautiful concert, generally very flattering for the local musical up-and-comers.

Modern Classical / période romantique

Classical Spree 2025 | Helmchen/Hecker: A Bold Journey from Light to Darkness

by Frédéric Cardin

A packed Cinquième Salle at 11 a.m. on Saturday, August 16, welcomed the duo on stage and in life, consisting of pianist Martin Helmchen and cellist Marie-Elizabeth Hecker. The Classical Spree seems to work well, and that’s all the better. Especially since the two artists had put together a fairly solid and substantial program, even for a little forty minutes of music.

LISTEN TO THE INTERVIEW WITH MARTIN HELMCHEN ABOUT THE PROGRAM OF THIS CONCERT

They launched into a very beautiful Waldesruhe [Forest Calm], Op. 68, No. 5 by Dvořák, in beautiful melodic lace, supported by very delicate playing. This was followed by Fauré’s Papillon, Op. 77, a formidable piece for cello, which Hecker mastered well, though without all the desired ease in the agility of the swirling lines. A bright start to the programme gave way to the sublime greyness of Schubert’s Winterreise, of which three excerpts were played, Gute Nacht [Good Night], Der Lindenbaum [The Linden Tree] and Der Leiermann [The Hurdy-Gurdy Man]. Here we felt the intimate complicity between the two artists, and above all the deep understanding of Schubert’s universe. It was very beautiful. The highlight of the morning was yet to come: the tortuous, even gloomy Sonata for Cello and Piano No. 1 by Alfred Schnittke, a 20th-century Russian composer of Germanic origin.

A bold but rewarding choice, as this work with Shostakovichian energy and dramatic intensity is incredibly impressive. Despite the demands it makes on the ears of the listeners, the audience hailed an impeccable and exciting interpretation, solidified by the fact that the two artists have it “in their fingers,” as they play it often these days. They have indeed just released a recording of it on the Alpha Classics label, along with other Eastern European sonatas. The morning could have been marked by near-perfection had it not been for three or four professional and ostentatious coughers, as well as, horror of horrors, a phone ringing in the very last, barely-whispered chords of the Schnittke. Embarrassing.

DJ set / Électronique / immersion

MUTEK : NOCTURNE 1 à la SAT

by Rédaction PAN M 360

La série Nocturne du festival MUTEK investit la SAT du mercredi au dimanche, offrant une immersion sensorielle unique au cœur de Montréal.
La soirée d’ouverture de la série Nocturne réunit créations inédites, retrouvailles marquantes et visions génératives. Entre improvisation en direct, identités sonores fortes et installation immersive, l’événement se déploie sur les deux étages de la SAT, où s’équilibrent intensité et finesse.

MUTEK’s Nocturne series takes over the SAT from Wednesday to Sunday, offering a unique sensory immersion in the heart of Montréal.
The opening night of the Nocturne series brings together premiere performances, long-awaited returns, and generative visions. Spanning both floors of the SAT, the evening balances sonic intensity and nuance through live improvisation, distinctive sound identities, and immersive installation.

Espace SAT

Yu Su

Yu Su est une musicienne, DJ et artiste sonore née à Kaifeng, élevée à Vancouver et aujourd’hui basée à Londres, dont le travail navigue entre textures ambient, pop expérimentale et musique de danse déviante. Formée au piano classique et sensible aux atmosphères comme aux rythmes, elle délivre des compositions sonores où mélodies délicates, rêves éveillés et échos de traditions chinoises se rencontrent. Ses productions évoquent des voyages sans destination précise, émotionnels, ludiques et subtilement expansifs, tissant souvenirs de lieux, mouvements et fragments d’identité.

Yu Su is a Kaifeng-born, London-based musician, DJ, and sound artist whose work drifts effortlessly between ambient textures, experimental pop, and left-field dance music. With a background in classical piano and a sensitivity to atmosphere and rhythm, her music blends intricate melodies, dreamlike soundscapes, and subtle references to Chinese folk traditions Her productions often feel like journeys without fixed destinations — emotional, playful, and quietly expansive — weaving together memories of place, movement, and identity.

upsammy & Valentina Magaletti

Portées par un même instinct d’exploration, Valentina Magaletti et upsammy sculptent des paysages sonores immersifs et finement texturés, où rythme, son et espace se fondent l’un dans l’autre. Surfaces crépitantes, pulsations liquides et rythmes fluides se déploient en temps réel, brouillant les frontières entre structure et improvisation. L’électronique se déforme, la percussion respire, les couches sonores glissent et se recomposent, formant un collage vivant de mouvements et d’atmosphères, à la fois précis et intuitif. Leur performance propose un premier aperçu de leur prochain album collaboratif.

Bringing together a shared instinct for exploration, Valentina Magaletti and upsammy sculpt immersive, finely textured soundscapes where rhythm, sound, and space dissolve into one another. Crackling surfaces, liquid pulses, and fluid rhythms unfold in real time, blurring the lines between structure and freeform. Electronics warp, percussion breathes, layers shift and reassemble, creating a live collage of movement and atmosphere — both precise and intuitive. Their performance offers a first glimpse into their upcoming collaborative album.

James Holden & Wacław Zimpel

À travers leur dernier album collaboratif The Universe Will Take Care of You, James Holden et Wacław Zimpel livrent un dialogue scénique ancré dans la transe et affranchi des genres. Entre synthés modulaires et clarinette alto, leur performance improvisée mêle minimalisme, musiques traditionnelles et textures électroniques brutes.

Following their recent collaborative album The Universe Will Take Care of You, James Holden and Wacław Zimpel bring their trance-rooted, genre-fluid dialogue to the stage. Modular synths meet alto clarinet in a live, improvisational set where minimalism, folk traditions, and raw electronic textures collide.

Satosphère

ReVerie (installation immersive) – Sense

ReVerie: Sense vous propose de murmurer vos rêves à une IA qui les transforme en fragments flottants et en paysages sonores évolutifs. Cette archive onirique partagée brouille les frontières entre mémoire et simulation, où voix, émotions et perception machinique sculptent un monde collectif et mouvant.

ReVerie: Sense invites you to whisper your dreams into an AI system that transforms them into floating fragments and shifting soundscapes. This living dream archive merges memory and simulation, letting participants co-create a surreal, emotional world shaped by voice, vision, and machine perception.

POUR ACHETER VOTRE BILLET, C’EST ICI!

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