Electronic / Industrial / noise / noise

ORPHX au Ritz PDB

by Rédaction PAN M 360

Le duo canadien Rich Oddie et Christina Sealey a fondé Orphx au début des années 90, publiant une série de cassettes expérimentales mêlant noise et musique industrielle. Leur premier album CD, Fragmentation, est sorti en 1996 sur le label américain Malignant Records. À la fin des années 90, leur son évolue vers une approche plus proche du techno, souvent qualifiée de rhythmic noise. L’EP 10” Nullity paraît sur Hands Productions en 1998, suivi de l’album Vita Mediativa en 1999. Le duo commence alors à se produire intensivement en Amérique du Nord et en Europe, participant notamment aux festivals industriels allemands Maschinenfest et Forms of Hands au début des années 2000, aux côtés d’artistes comme Winterkälte, Ah Cama-Sotz et Mimetic. Orphx poursuit ses sorties sur Hands Productions, tout en publiant l’album Circuitbreaking sur Hymen Records en 2004. En 2008, Hands publie Teletai, une compilation double CD regroupant des morceaux rares ou auparavant disponibles uniquement en vinyle, avec un disque de remixes signés Surgeon, Fluxion, Sleeparchive et d’autres figures de la scène techno et industrielle. En 2009, Orphx signe avec le label Sonic Groove d’Adam X et entame la publication d’une série de 12” techno, tout en partageant l’affiche avec des DJs comme Marcel Dettmann et Ben Klock. Hymen Records compile ensuite ces morceaux en CD avec The Sonic Groove Releases, Pt. 1 en 2014, suivi de Pt. 2 en 2015. En 2016, Orphx sort l’album Pitch Black Mirror, sur lequel figure la chanteuse Marie Davidson en tant qu’invitée.

Canadian duo Rich Oddie and Christina Sealey began Orphx in the early ’90s, releasing a series of experimental noise and industrial cassettes. Their first CD release was Fragmentation on American label Malignant Records in 1996, and by the end of the ’90s, their sound had shifted in a more techno-leaning direction, often referred to as “rhythmic noise.” The 10″ EP Nullity appeared on Hands Productions in 1998, followed by full-length CD Vita Mediativa in 1999. The duo began performing extensively across North America and Europe, and made several appearances at German industrial festivals Maschinenfest and Forms of Hands in the early 2000s, alongside labelmates such as Winterkälte, Ah Cama-Sotz, Mimetic, and numerous others. Several albums on Hands Productions continued, as well as 2004 full-length Circuitbreaking on Hymen Records. In 2008, Hands released Teletai, a double-CD collection of rarities and tracks previously only released on vinyl, with a disc of remixes by Surgeon, Fluxion, Sleeparchive, and many other techno and industrial artists. In 2009, Orphx signed to Adam X’s Sonic Groove label and began releasing a series of techno 12″s, and the duo performed at events with techno DJs such as Marcel Dettmann and Ben Klock. Hymen Records began compiling tracks from these 12″s for CD releases, starting with The Sonic Groove Releases, Pt. 1 in 2014, followed by Pt. 2 in 2015. Orphx’s full-length, Pitch Black Mirror, which featured guest vocals by Marie Davidson, was released in 2016.

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Electronic / Techno

Beauz au Théâtre Fairmount

by Rédaction PAN M 360

Dominant les scènes principales des festivals et remplissant des salles emblématiques en Amérique du Nord et en Asie, BEAUZ est un nom impossible à ignorer en 2024.
Originaires de Los Angeles, les frères DJ et producteurs américains ont atteint de nouveaux sommets grâce à une année d’exploits extraordinaires, s’imposant comme une véritable force du Hard Techno. Rien qu’en 2024, ils ont rassemblé une base fidèle de plus de 600 000 “baddies” grâce à du contenu viral sur Instagram et TikTok, et accumulé plus de 2 millions de vues sur leurs DJ sets Hard Techno sur YouTube, rivalisant ainsi avec les plus grands noms du genre.

Dominating festival main stages and selling out strongholds across North America and Asia, BEAUZ is a name impossible to ignore in 2024.
Hailing from Los Angeles, the American DJ / producer brothers soared to new heights through a year of extraordinary feats, proving themselves to be a powerhouse of fresh Hard Techno. In 2024 alone, they built a loyal fan base of more than 600,000 “baddies” through viral content across IG and Tiktok, and accumulated more than 2 million views on their Hard Techno DJ sets on YouTube, rivaling even the top Hard Techno acts.

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Alternative / Indie Rock

Livingston au Théâtre Beanfield

by Rédaction PAN M 360

La musique de Livingston est le point de rencontre entre la réalité et la fiction. Auteur-compositeur-interprète et producteur de 22 ans originaire de Denton, au Texas, il a passé une grande partie de son adolescence isolée à perfectionner sa passion pour la musique afin d’échapper à son anxiété. L’univers sonore qu’il a créé associe des paroles et des mélodies profondément personnelles, intimes et émouvantes à des arrangements grandioses, une production soignée et des couches musicales riches.

Livingston’s music is the sound of reality and fiction colliding. The 22-year-old singer/songwriter and producer from Denton, Texas would spend much of his isolated youth honing in his passion for music to escape his anxiety. The sonic world he created pairs deeply personal, intimate, emotional lyrics and melodies alongside larger-than-life arrangements, production and musical layers.

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Balkan music / Klezmer / psychédélique

Let’s Yiddish’n’roll with Kallisto!

by Frédéric Cardin

I’ve already spoken to you about Kallisto, a klezmer yiddish-folk Anatolian-psychedelic-rock meets balkanic-swing quintet that tickled my ears at the Sylis d’or 2023 at the Balattou club (READ THE INTERVIEW I DID HERE – in French), here in Montreal. I had the chance to see them live again on Sunday evening, 18 May 2025 at Balattou, and the initial impression remains the same: this is a very solid band, aesthetically and musically, built on the foundations of Jewish music but blending multiple influences that blend organically and very festively. The sub-genres mentioned above can all be found, to a greater or lesser extent, in one of the band’s pieces, whether standard or original composition. 

That said, the group is not the same as it was in 2023, except for leader Jossée McInnis (clearly the creative soul of the ensemble), who is also a clarinettist. The Montrealer (formerly from London, ON) is an instrumentalist with a rock-solid musical science, classic technique and tonal precision, to be sure. But she swings well and handles the colours and inflections of klezmer music with perfect ease. The lady has surrounded herself with other top names, perhaps even better than in the Sylis 2023 version: Antoine Bensoussan on guitar (a skilful surf-styler, among others), Jefferson Perez on cello (brilliant in both his tonal beauty and his improvisational skills), Patrick Lebrun on bass and Edward Scrimger on drums. 

Kallisto play regular gigs in good small venues, from Montreal to Sherbrooke to Toronto, so keep an eye on the agenda of your favourite live music bars. If they happen to be in your area, be sure to give them a listen. It’s a great way to spend the evening. 

Next official gig dates: 

9 July 2025 – Quai des brumes, Montreal

July 19, 2025 – Duluth en Arts, Duluth Street, Montreal

KALLISTO WEBSITE

Dubstep / Electronic

Southern Invasion 2025 au Club Soda

by Rédaction PAN M 360

À vos agendas ! La version sud des #RiddimOlympics revient au Club Soda les 23 et 24 mai ! Pour la première fois, l’événement se tiendra sur deux jours, transformant cette édition en une véritable expérience immersive dubstep/riddim. Un rendez-vous incontournable à ne pas manquer !

Mark your calendar, the south version of the #RiddimOlympics is returning to Club Soda, May 23+24! This will be the first ever 2-day edition, and we’re turning it into a full dubstep/riddim immersive experience (and you definitely don’t wanna miss it).

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hip-hop alternatif / R&B

Osheaga : Dominic Fike au parc Jean-Drapeau

by Rédaction PAN M 360

Dominic Fike apporte une touche personnelle à une pop cabana à la Jack Johnson en y intégrant des éléments de hip-hop alternatif. Originaire de Floride, il passe de parfait inconnu à artiste signé par une major en 2018, année où il sort son premier EP Don’t Forget About Me, Demos. Son premier album, What Could Possibly Go Wrong, paraît en 2022 et se classe dans le Billboard 200, marquant le début de son ascension. La même année, sa notoriété grandit encore lorsqu’il rejoint le casting de la deuxième saison de la série à succès Euphoria sur HBO. Son deuxième album, Sunburn, sort en 2023 et atteint la 30e place des classements. Il enchaîne en 2024 avec un nouvel EP intitulé 14 Minutes.

Dominic Fike puts his own spin on Jack Johnson-esque cabana pop by combining it with elements of alternative hip-hop. The Florida native went from an unknown to a major-label signee in 2018, the year he issued his debut EP, Don’t Forget About Me, Demos. His Billboard 200-charting first full-length, What Could Possibly Go Wrong, followed in 2022, and his star continued to rise after joining the cast of the hit HBO series Euphoria for its second season that same year. Fike’s sophomore album, Sunburn, appeared in 2023, charting at number 30. The EP 14 Minutes followed in 2024.

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Americana / Country Folk

Dylan Gossett au MTelus

by Rédaction PAN M 360

Originaire d’Austin, Dylan Gossett puise dans la tradition du country simple et émouvant qui traverse le centre du Texas. Complice de Zach Bryan, Gossett privilégie une instrumentation épurée et un récit narratif, des qualités bien présentes sur son EP No Better Time sorti en 2023, qui a notamment révélé son tube viral Coal.

A native of Austin, Dylan Gossett mines the vein of plaintive, plain-spoken country that runs through central Texas. A kindred spirit to Zach Bryan, Gossett favors spare instrumentation and storytelling, qualities evident on his 2023 debut EP No Better Time, which featured his viral hit “Coal.”

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Alternative Rock / Pop-Rock

Osheaga : The Killers au parc Jean-Drapeau

by Rédaction PAN M 360

Alors qu’ils ont mûri depuis leurs débuts dans le dance-rock indie pour devenir les porte-étendards d’hymnes inspirés à la fois de la new wave et de l’Americana, les Killers, quatuor rock originaire de Las Vegas, se sont imposés comme des têtes d’affiche internationales et l’un des groupes américains les plus appréciés du début du XXIe siècle. Grâce à un mélange de synth-pop aux accents 80s et à un charme de dandy, leur premier album multi-platine, Hot Fuss (2004), est devenu l’une des plus grandes sorties de la décennie, avec quatre singles à succès — dont leur titre le plus emblématique, « Mr. Brightside » — propulsant le groupe sur la scène internationale.
Après un changement de style radical avec leur deuxième album Sam’s Town (2006) — qui délaissait le revival new wave au profit du rock américain de Bruce Springsteen et de l’époque Rattle and Hum de U2 —, ils ont trouvé un équilibre entre ces deux influences avec une série régulière de disques classés dans le Top 10, culminant avec le numéro un Wonderful Wonderful en 2017. En 2020, leur sixième album, Imploding the Mirage, a été salué par la critique et leur a offert un titre numéro un des classements alternatifs américains avec « Caution ». Moins d’un an plus tard, ils ont opéré un virage introspectif avec Pressure Machine, plus sobre et mélancolique. En 2023, ils ont célébré leurs vingt ans de carrière avec une compilation de leurs plus grands succès, Rebel Diamonds.

As they’ve matured from their indie dance-rock roots into torchbearers of new wave- and Americana-inspired anthems, Las Vegas rock quartet the Killers have become global headliners and one of the most beloved American bands of the early 21st century. With a mix of ’80s-styled synth pop and fashionista charm, the band’s multi-platinum 2004 debut, Hot Fuss, became one of the decade’s biggest releases, spawning four hit singles — including their most enduring hit, “Mr. Brightside” — and catapulting the group into the international spotlight.
After the abrupt stylistic shift on 2006 sophomore effort Sam’s Town — which de-emphasized the band’s new wave revivalism in favor of the heartland rock of Bruce Springsteen and Rattle and Hum-era U2 — they struck a balance between their two sides on a consistent run of Top Ten releases that peaked with 2017’s chart-topping Wonderful Wonderful. In 2020, their sixth album, Imploding the Mirage, garnered critical praise and scored them a U.S. alternative chart-topper with the single “Caution.” Less than a year later, they released the pensive tonal shift Pressure Machine. In 2023, they celebrated twenty years as a unit with the greatest hits compilation, Rebel Diamonds.

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Alt-Pop / Bedroom Pop

Osheaga : Artemas au parc Jean-Drapeau

by Rédaction PAN M 360

Artemas Diamandis, connu sous le mononyme Artemas, est un auteur-compositeur et producteur anglais au son alt-pop affirmé, mêlant des paroles accessibles à des mélodies accrocheuses, des riffs de guitare inspirés des années 1990, des rythmes funk et une touche de R&B contemporain. Il se fait d’abord remarquer en 2023 grâce au succès viral du single If U Think I’m Pretty, avant de connaître une percée internationale avec I Like the Way You Kiss Me, numéro un dans plusieurs pays en 2024. Ce morceau figure sur sa mixtape Yustyna, qui atteint la première place du classement Heatseekers. Il enchaîne début 2025 avec les titres Southbound et Test Drive.

Artemas Diamandis, who operates under the mononym Artemas, is an English songwriter and producer with an assured alt-pop sound that combines relatable lyrics with earworm melodies, ’90s guitar hooks, funk beats, and contemporary R&B flair. He first found viral success with the 2023 single “If U Think I’m Pretty” before breaking out with the international chart-topper “I Like the Way You Kiss Me” a year later. The song’s parent mixtape, Yustyna, reached number one on the Heatseekers chart and he followed it in early 2025 with the tracks “Southbound” and “Test Drive.”

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Hip Hop / Neo-soul

Osheaga : Jorja Smith au parc Jean-Drapeau

by Rédaction PAN M 360

Jorja Smith allie une voix poignante à une écriture brute et sincère, et se distingue par sa capacité naturelle à naviguer entre plusieurs styles, du hip-hop soul moderne au garage en passant par la pop alternative. L’auteure-compositrice-interprète connaît une ascension fulgurante dans la seconde moitié des années 2010. Peu après s’être imposée sur les palmarès indépendants britanniques avec son premier single mélancolique Blue Lights (2016), nommé aux MOBO Awards, elle frôle le Top 10 des charts dance du Royaume-Uni avec On My Mind (2017). Après trois autres nominations aux MOBO, elle entre dans le Top 40 avec la ballade Let Me Down (2018). Durant cette période, elle participe à la playlist More Life de Drake ainsi qu’à la bande originale de Black Panther, deux apparitions qui élargissent son public et attisent l’attente autour de son propre album Lost & Found, également paru en 2018. Atteignant le Top 5 au Royaume-Uni, cet album lui vaut trois nominations aux Brit Awards et une nomination aux Grammy Awards dans la catégorie Révélation de l’année. Elle poursuit sur sa lancée avec l’EP Be Right Back (2021), précédé du hit Be Honest, classé dans le Top 10, puis avec Falling or Flying (2023), un deuxième album plus éclectique porté par le morceau dansant Little Things. En 2024, elle revient avec un autre titre taillé pour le club, High.

Jorja Smith combines an aching voice and captivatingly raw songwriting with a natural ability to move across styles including modern hip-hop soul, garage, and alt-pop. The singer/songwriter experienced a swift emergence in the latter half of the 2010s. Shortly after she hit the indie chart in her native U.K. with her moody, MOBO-nominated debut single, “Blue Lights” (2016), she nearly cracked the Top Ten of the U.K. dance chart with “On My Mind” (2017), and after three additional MOBO nominations, she crossed into the Top 40 with the ballad “Let Me Down” (2018). During this time, Smith contributed to Drake’s More Life playlist and the soundtrack for Black Panther, audience-expanding appearances that intensified anticipation for her own Lost & Found (also 2018). A Top Five U.K. hit, Smith’s album debut was acknowledged with three Brit Award nominations and a Grammy nomination for Best New Artist. She has continued to build on her success with Be Right Back (2021), an EP preceded by the Top Ten U.K. hit “Be Honest,” and Falling or Flying (2023), a wider-ranging second album led by the speedy dancefloor track “Little Things.” Another clubby track, “High,” appeared in 2024.

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Orchestral Pop

OSM | Half Moon Run’s Masterful Return to The Symphonic… Home

by Marilyn Bouchard

On May 15 at the Maison symphonique was the last of 3 performances of the return of Half Moon Run with the Orchestre symphonique de Montréal conducted by Adam Johnson.

The evening began with Everyone’s Moving Out East, richly accompanied by the full orchestra. The soaring 9beat followed to the rhythm of brilliantly enriched percussion, delicately complemented by female backing vocals and violins, amplifying the light of the musical epic, which ended sharply at the climax, to the cheers of the crowd.

We came back down for Goodbye Cali, with the guys strolling across the stage in long strides to the rhythm of the promenade, which ended with the piano scores intertwining, veering into jazz. Crawl Back In then opened, softly, with only acoustic guitar and vocals backed by violins, quickly evolving into more complexity.

We found ourselves suspended for a moment in time, and I don’t know if it’s because of a little similarity with Hallelujah, but this one brought a tear to my eye. Immediately afterwards, the highlight of the evening, How Come My Body, one of my favourites, went completely wild, with the percussion and double bass weighing down the atmosphere and the female singers adding density to the choruses.

Razorblade and Loose Ends were presented in a rousing, rhythmic fashion, with the brass instruments, and solo trumpeter Paul Merkelo in particular, taking full advantage of their space. You won’t (look me in the eyes) was really well accompanied by violins, surprising us with a magnificent solo from Marianne Dugal in particular, and enveloped by female vocal harmonies, while the atmospheric Another Woman came close to Muse’s progressive/alternative rock with the orchestra and an abundance of staccatos. We were treated to a deep, rich version of It’s true, on which the double basses heightened the song’s dramatic potential tenfold, as well as Grow Into Love and Then Again adorned with overlapping violins, between pizzicatos and legatos that filled the airs.

The awaited Full Circle kicked off with Serge Desgagnés’ expertly executed percussion, and was the perfect song to highlight this angle of the orchestral arrangement, quickly progressing to one of the evening’s most masterful orchestrations. Call me in the afternoon, warmly welcomed by the audience, stood out for its electrifying guitar duet at the front of the stage. This was followed by I can’t figure out what’s going on and She wants to know you can let go, opening with a Tchaikovsky-like introduction of flutes and oboes, quickly accompanied by the other winds. The encore, Sun leads me on , ended the evening magnificently, starting with Devon, Conner and Dylan going up to find the leader on the central platform to deliver the last song in chorus, around the same microphone. They were gradually joined by the singers, flutes, oboes and clarinets for a final crescendo that left us with heads full of music.Tout au long du spectacle, les arrangements sensibles de Blair Thompson se sont illustrés en sachant délicatement faire briller les points forts des compositions d’Half Moon Run. Un spectacle senti, bien calculé et extraordinairement bien exécuté, conduit de main de maître par Adam Johnson. Si vous n’y étiez pas, vous avez manqué un MOMENT.

Photo Credit : Antoine Saito

Balkan music / Choral Music

Enchanting choral Croatia at the Centre des musiciens du monde

by Frédéric Cardin

I’ve been a regular at the Centre des musiciens du monde’s (CMM) Intimate Concerts series since the very first one last January. They’ve all been excellent, each time featuring top-quality artists who’ve settled in Montreal for its cultural vitality and, in the process, enriched it in an exceptional way, thanks to the traditional and refined sounds from Rwanda, Syria, Mongolia, Iran, Peru and so on. While I’m fairly familiar with all the artists featured (and to be featured) in the series so far, one exception was on stage last night: the vocal ensemble Sava, whose existence I didn’t even know about until quite recently. I was so taken with them that I had to tell you about it.

Sava is an all-female vocal quartet devoted to traditional Balkan polyphonic songs. For this concert, Sava covered some of the repertoire specifically from Croatia, with secular and religious songs. This performance, behind the altar of the Church of Saint-Enfant Jésus (in a very intimate setting), totally bowled me over. This was due not only to the surprise effect, but also to the exceptional vocal quality of the four performers, Antonia Branković, Dina Cindrić, Sara Rousseau and Sarah Albu (the latter also one of the most exciting recent voices in contemporary and avant-garde music in the city). In the perfect acoustics of the venue, the seductive rubbing of thirds, fourths and fifths of the four voices produced a soothing vibratory effect on the audience gathered, and on your humble reviewer, who was transported back in time and space, to an ancient and perfectly authentic Dalmatia.

I don’t know how often the ladies perform in concert, but they’d better go at it! And if you’re ever interested, you should know that the ensemble is a product of all kinds of music courses available at the CMM!

MUSIC SCHOOL OF THE CENTRE DES MUSICIENS DU MONDE

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