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

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.

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.

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

DJ set / Electronic / immersion

MUTEK : NOCTURNE 2 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 Nocturne 2 traverse un spectre artistique allant d’un état méditatif à l’exaltation. Basses accentuées, rythmiques mécaniques et voix altérées façonnent une soirée de rêves immersifs et d’énergie percussive sur tous les niveaux de la SAT.

MUTEK’s Nocturne series takes over the SAT from Wednesday to Sunday, offering a unique sensory immersion in the heart of Montréal.
Nocturne 2 moves across an artistic spectrum, from meditative states to ecstatic peaks. Deep bass, mechanical rhythms, and altered voices shape an evening of immersive dreamscapes and percussive energy across all levels of the SAT.

Espace SAT

Gadi Sassoon & Portrait XO feat. 555n – Hypercast

En première mondiale, Hypercast fusionne voix expérimentale, violon live et sonification par IA dans un échange en temps réel. Issu d’une résidence à la SAT, Gadi Sassoon, Portrait XO et l’agent synthétique 555n provoquent une rencontre saisissante entre intuition humaine et créativité algorithmique.

As a world premiere, Hypercast merges experimental vocals, live violin, and AI-driven sonification into a rich, real-time exchange. Born from a SAT residency, this trio—Gadi Sassoon, Portrait XO, and synthetic agent 555n—invites audiences into a bold collision of human intuition and machine creativity.

Holy Tongue

Holy Tongue transforme le dub psychédélique en rituel dansant et effervescent. Le trio composé de Valentina Magaletti, Al Wootton et Susumu Mukai livre des performances libres et électriques, fusionnant percussions sauvages, jazz cosmique et basses abyssales. Une expérience scénique viscérale, imprévisible, qui fait vibrer autant qu’elle élève.

Holy Tongue conjure ecstatic, body-moving ritual through psychedelic dub, raw percussion, and post-punk spirit. The trio of Valentina Magaletti, Al Wootton, and Susumu Mukai ignites the stage with hypnotic, high-energy improvisations—melding cosmic jazz freedom with cavernous low-end pressure. A kinetic, genre-dissolving live show that channels pure momentum.

Phèdre – Liquid Constancy

Phèdre est un duo électronique formé de Daniel Lee et apè Aliermo, basé à Tkaronto/Toronto. Né de la pop expérimentale, leur univers sonore s’est transformé en performances instrumentales à haute intensité, portées par des séquenceurs, échantillonneurs et synthétiseurs. Leurs sets, riches en basses et en rythmes imprévisibles, naviguent entre club, breakbeat, jungle et techno.

Phèdre is the electronic duo of Daniel Lee and apè Aliermo, based in Tkaronto/Toronto. Emerging from experimental pop, their sound has evolved into fast-paced, bass-driven sets blending sequencers, samplers and synths into kinetic, genre-bending performances. Drawing from club, jungle, breakbeat and techno, their live shows pulse with a playful sense of rhythm and disruption.

The Fear Ratio

The Fear Ratio, duo formé par James Ruskin et Mark Broom, livre un set live où rythmes fracturés et textures troubles se croisent. Entre IDM, dub et ambient, leur performance oscille entre tension sonore et abstraction immersive. Une expérience aussi saisissante que cérébrale, à la lisière du club et du cinéma.

The Fear Ratio—UK veterans James Ruskin and Mark Broom—bring a live set of brooding atmospheres and broken rhythms. Blending IDM, dub, and ambient influences, their performance unravels structured chaos through dense textures and warped beats. Expect a masterclass in sonic tension where club energy meets cinematic disorientation.

Satosphère

Guillaume Côté – Discrete Pulse of Light

Guillaume Côté transpose une hypersensibilité lumineuse en dispositif audiovisuel poétique. Dans Discrete Pulse of Light, le son module une chorégraphie de lentilles et de surfaces réfléchissantes. Une performance intime, où perception et sensation se confondent, comme des étoiles qu’on imaginait, enfant, les yeux fermés.

Guillaume Côté transforms a hypersensitivity to light into a poetic audiovisual device. In Discrete Pulse of Light, synchronized sound triggers a luminous choreography of lenses and reflective surfaces. This deeply personal performance blurs the line between perception and sensation, evoking starry visions behind closed eyes.

Motia & Nait Saves – Log in to your Life

Motia est un duo d’artistes multimédia basé en Argentine, dont les créations immersives effacent les frontières entre réel et virtuel. À partir d’une recherche conceptuelle et d’une sensibilité techno-poétique, ils conçoivent des environnements surréalistes où lumière, image numérique et son composent des écosystèmes vivants. Leur pratique mêle animation 3D, dispositifs interactifs et scénographies sur mesure pour explorer les dimensions émotionnelles et existentielles de notre relation à la technologie. Motia interroge l’évolution de l’identité, du corps et de notre rapport à la nature dans un monde de plus en plus numérisé. Présenté à MUTEK AR, Artlab ou Plus + Arte, leur travail engage une réflexion sensorielle sur l’être humain contemporain.

Motia is a multimedia artist duo based in Argentina whose work blurs the boundaries between physical and virtual space through immersive, narrative-driven installations. Rooted in conceptual research and a techno-poetic sensibility, they construct surreal environments where light, sound, and digital imagery merge into living ecosystems. Their practice draws on a wide range of technologies—3D animation, interactive systems, custom scenography—to explore the emotional and existential dimensions of human–machine entanglement. Motia creates experiences that question the evolution of identity, embodiment, and our place within a rapidly digitizing world. Featured at MUTEK AR, Artlab, and Plus + Arte, their work invites deep, sensory reflection on what it means to be human today.

Ida Toninato & Pierre-Luc Lecours – Homeostasis

Dans Homeostasis, le sax baryton et le synthé modulaire s’entrelacent sous un dôme d’images en temps réel et de lumières mouvantes. Ida Toninato et Pierre-Luc Lecours composent un écosystème vibrant où sons et visuels se réajustent sans cesse. Une performance immersive, à la fois sensorielle et méditative, sur l’équilibre et la cohabitation.

In Homeostasis, baritone sax and modular synth intertwine beneath a dome of shifting light and real-time visuals. Ida Toninato and Pierre-Luc Lecours sculpt a vibrant system where sound and image continually rebalance, echoing nature’s rhythms. Their performance pulses with intensity—an immersive meditation on coexistence, ecology, and equilibrium.

YeffYeff & Bertie Sampson – Rapid Eye Movement

RAPID EYE MOVEMENT traverse les cinq phases du sommeil, fusionnant voix, visuels et rêves du public dans un paysage subconscient partagé. Entre expérimentation vocale de YeffYeff et visuels génératifs de Bertie Sampson, cette performance immersive brouille les frontières entre réalité et onirisme, et ce en temps réel.

RAPID EYE MOVEMENT drifts through the five stages of sleep, merging voice, visuals, and audience-submitted dreams into a shared subconscious landscape. YeffYeff’s vocal experimentation and Bertie Sampson’s generative visuals blur reality and dream in a deeply immersive journey shaped live in the moment.

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

DJ set / Électronique / immersion

MUTEK : NOCTURNE 3 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.
Avec huit performances, dont quatre sous le dôme, Nocturne 3 orchestre la collision de la house, du dub, du UK garage et de l’électronique expérimentale. Cette troisième soirée dévoile un espace de liberté et de résonance collective sur les deux étages de la SAT.

MUTEK’s Nocturne series takes over the SAT from Wednesday to Sunday, offering a unique sensory immersion in the heart of Montréal.
With eight performances, including four under the dome, Nocturne 3 orchestrates a collision of house, dub, UK garage, and experimental electronics. This third evening unfolds as a space for freedom and collective resonance across both floors of the SAT.

Espace SAT

Loidis

Quelque part entre la techno minimale, les textures dub et la microhouse, Brian Leeds, sous le nom de Loidis, développe une musique de dérive et d’intimité. Plus connu pour ses projets Huerco S. et Pendant, il sculpte des paysages sonores luxuriants et feutrés, un style qu’il qualifie avec humour de « dub mnml emo tech ».

Somewhere between minimal techno, dub textures, and microhouse, under the name Loidis, Brian Leeds establishes a music of drift and intimacy. Better known for his work as Huerco S. and Pendant, he sculpts lush, slow-burning soundscapes, a style he jokingly labels “dub mnml emo tech.”

Gayance

Originaire de Montréal, l’artiste haïtiano-canadienne Gayance (Aïsha Vertus) fusionne house jazzy, rythmes brésiliens et broken beat londonien dans des sets riches en émotions et en groove. Active depuis plus d’une décennie, elle s’est imposée sur les scènes internationales, du Panorama Bar à Berlin au Montreux Jazz Festival. Inspirée par la Beat Scene de Los Angeles et la culture bruk de Londres, elle fait dialoguer héritages afro-diasporiques et musiques électroniques avec une énergie communicative. Son nom, tiré du créole haïtien, signifie “joie”, un mot qui résume parfaitement l’expérience scénique qu’elle nous offre.

Haitian-Canadian artist Gayance (Aïsha Vertus), born in Montréal, blends jazzy house, Brazilian rhythms, and London’s broken beat tradition into emotionally charged, groove-heavy sets. Performing for over a decade, she lit up stages from Panorama Bar to Montreux Jazz Festival, with a sound shaped by LA’s beat scene and UK bruk. Drawing on Afro-diasporic heritage and electronic experimentation, her performances are both soulful and vibrant. Her name, taken from the Haitian Creole word for “joy,” captures the spirit she brings to dancefloors around the world.

Kyle Hall

Kyle Hall est un producteur de musique électronique et DJ américain originaire de Detroit, Michigan. Il commence à faire de la musique dès son plus jeune âge et se fait remarquer à la fin des années 2000 et au début des années 2010 grâce à une série de sorties saluées par la critique, mêlant les influences classiques de la techno et de la house de Detroit à un style personnel et novateur.

Kyle Hall is an American electronic music producer and DJ from Detroit, Michigan. He began making music at a young age and rose to prominence in the late 2000s and early 2010s with a series of critically acclaimed releases that combined classic Detroit techno and house influences with his own unique style.

Martyn Bootyspoon

Martyn “M.” Bootyspoon est le projet musical de Jason Voltaire, artiste basé à Montréal. Membre du collectif Fractal Fantasy aux côtés de Sinjin Hawke et Zora Jones, il se fait connaître en 2017 avec une apparition sur l’album First Opus de Hawke, avant de sortir en 2018 son premier EP Silk Eternity, salué par la critique. Naviguant entre house suggestive, ghettotech et textures digitales affûtées, Bootyspoon compose des morceaux qui détournent les codes du club avec un humour mordant et une esthétique imprégnée de l’ère Internet. Sa musique capte l’énergie brute des nuits d’excès tout en affichant une précision rythmique et sonore remarquable.

Martyn “M.” Bootyspoon is the dancefloor alias of Montréal-based artist Jason Voltaire, known for his playful and provocative take on club music. Emerging from the Fractal Fantasy collective alongside Sinjin Hawke and Zora Jones, Bootyspoon first made his mark in 2017 with a feature on Hawke’s First Opus LP, before releasing his debut EP Silk Eternity in 2018 to critical acclaim. Blending raunchy house, ghettotech, and slick digital club textures, Bootyspoon crafts tracks designed to flip genre conventions inside out, updating classic sounds with a sharp sense of humor and a distinctly Internet-era twist. His music channels the energy of late-night hedonism while maintaining a meticulous ear for rhythmic detail and texture.

Satosphère

Thisquietarmy & Mothrspace – Flor do Cerrado

Avec Flor do Cerrado, thisquietarmy & Mothrspace brouillent les frontières entre résonance organique et abstraction électronique. Traité en direct, le violoncelle fusionne avec des pistes de guitare atmosphériques, entre tension brute et beauté étrange. Une méditation sonore entre nature et machine.

In Flor do Cerrado, thisquietarmy & Mothrspace dissolve the boundaries between organic resonance and electronic abstraction. Live-processed cello and textured guitar merge into a haunting soundscape—at once intimate and alien. A raw, atmospheric dialogue where the natural world meets its digital echo.

.618 – Goodbye ONY

.618 est le pseudonyme sonore de Nick Rony, dont les compositions immersives mêlent enregistrements de terrain, textures électroniques et instrumentation organique. À travers une approche sensorielle, iel explore les géotraumatismes et leur empreinte sur la mémoire collective, construisant des paysages sonores à la croisée des genres.

.618 is the sonic alias of Nick Rony, whose emotionally charged compositions weave together field recordings, electronic textures, and organic instrumentation. Their practice examines the concept of geotrauma and its imprint on collective memory, crafting immersive soundscapes that defy genre boundaries.

Djeity & al11z – Things Are Not as They Seem

Entre techno mélodique, racines classiques et sonorités ancestrales, Things Are Not What They Seem marque les débuts immersifs de Djeity, avec les visuels d’al11z et le violoncelle de Fili Gibbons. Sous le dôme de la SAT, voix live et univers 3D réactifs composent un voyage chargé d’émotions et de sens.

Blending melodic techno, classical roots, and ancestral sound, Things Are Not What They Seem is Djeity’s immersive debut with visuals by al11z and cello by Fili Gibbons. In the SAT dome, live vocals and audio-reactive 3D worlds conjure a surreal, emotionally charged voyage through identity, healing, and transformation.

Xicada

Xicada compose une musique électronique expérimentale qui explore des mondes imaginaires, des états altérés et des jeux de rythmes et de textures. Son univers sonore mêle voix spectrales, pistes inquiétantes et pulsations sombres pour créer un paysage hanté, réminiscence d’un futur cyber-gothique suspendu dans un espace liminal. Son prochain album ENGAGING ANIMAL EARTH traverse des états de conscience intermédiaires, où spiritualité et matérialisme s’affrontent dans une odyssée sonore mouvante et introspective.

Xicada creates experimental electronic music that evokes imagined worlds, altered states, and rhythmic decay. Her sound merges spectral vocals, eerie textures, and pulsing beats into a haunted landscape—an echo of a cyber-goth future caught in limbo. Exploring themes of perception and the thresholds between consciousness and existence, her forthcoming 2025 album ENGAGING ANIMAL EARTH guides listeners through sonic spaces where spirituality and materialism collide.

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