{"id":136793,"date":"2025-05-01T07:47:38","date_gmt":"2025-05-01T11:47:38","guid":{"rendered":"https:\/\/panm360.com\/?post_type=interviews&p=136793"},"modified":"2025-05-01T08:10:57","modified_gmt":"2025-05-01T12:10:57","slug":"sats-substrat-sound-series-irl%ca%bcs-soundscapes","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/sats-substrat-sound-series-irl%ca%bcs-soundscapes\/","title":{"rendered":"SAT’s Substrat Sound Series: IRL\u02bcs soundscapes"},"content":{"rendered":"\n

Amanda Harvey, also known as IRL, is one of Montreal\u02bcs most engaged sound artists and musicians. Her studied approach comes from years of actively creating communities and nourishing her understanding of sound. If IRL\u02bcs soundscapes represent this depth, it is because they inspire themselves from various listening practices with vast social meaning. <\/strong><\/p>\n\n\n\n

From being a core member of ffiles, a feminist radio collective, to co-producing A Kind of Harmony <\/em>with Julia Dyck\u2014which investigates multidisciplinary sound practices through a social and environmental lens\u2014Amanda Harvey follows where the heart leads and isn\u02bct afraid to question her own beliefs. What is between the ears\u2014but more importantly, what does the body feel? Her sound is crafted with deep care and a heightened sensitivity to space, as it speaks to be heard.<\/strong><\/p>\n\n\n\n

The approach to space as a medium in her works will inevitably lead to interesting results in S.A.T.\u02bcs dome, as she prepares for<\/strong> her Substrat <\/em>performance on Thursday May 1st, sharing the stage with B\u00e9n\u00e9dicte, Micheal Gary Deen & Freddy Speer. In this interview, Amanda Harvey talks about her learnings from A Kind of Harmony<\/em>, the importance of community, the evolution of her spatialization practice, and her approach to embodied sound.<\/strong><\/p>\n\n\n\n

<\/p>\n\n\n\n

PAN M 360: I’m wondering if we turn the tables: what are some important lessons that you’ve learned producing <\/strong>A Kind of Harmony<\/em><\/strong><\/a> <\/em>that have affected your own discipline?<\/strong><\/p>\n\n\n\n

IRL: <\/strong>One thing I definitely learned came from one of the participants of this current season\u2014the person I just mentioned, AM the geographer. In their interview, they talk about how not all spaces\u2014natural spaces\u2014want to be recorded. And so, when you approach recording a natural or outdoor space, you should sit with that space and see if the intention is there for you to record. Sometimes the space is going to refuse you, or you’re going to feel as though you’re not actually, in that moment, welcome<\/em>. This is something I had never encountered in all my years of researching sound, place, and space. I found it extremely eye-opening because it wasn\u02bct a practice I personally had. Moving forward, if I\u02bcm doing field recording of any sort and arrive in a space that feels like it doesn\u02bct want to be recorded or remembered in that moment or in that way, I won\u02bct actually record. That\u02bcs been a major takeaway I\u02bcve learned from this season.<\/p>\n\n\n\n

PAN M 360: Wow, that\u02bcs very interesting\u2014it\u02bcs like a completely different approach to listening. Almost like listening to the space as being<\/em><\/strong>.<\/p>\n\n\n\n

IRL: <\/strong>Exactly. I\u02bcm pretty sure they say something along those lines\u2014like, you have to sit with and listen to the space, and the space will tell you whether or not you should take that recording. Because it is extractive in a sense.<\/p>\n\n\n\n

Another participant we interviewed, Sandra Volney, who is actually based here, looks at how recording sounds of the earth can actually alert us to global warming and the earth heating up. I knew conceptually that this was possible, but speaking with an artist who puts that into practice and works with scientists to collect this data and create sound works from it was also super eye-opening for me.<\/p>\n\n\n\n

PAN M 360: That makes a lot of sense to me, because you’re connecting people with their sensitivity\u2014it makes the issue more personal. In this sense, I\u02bcm curious about your own practice of retrieving sounds. You’ve explained there\u02bcs a preliminary approach of listening to the space. Has this changed your way of listening over time?<\/strong><\/p>\n\n\n\n

IRL: <\/strong>I think especially over the last year, my way of listening has shifted\u2014not only because of producing the podcast, but also due to things that have happened in my own life. Before, when I approached field recording or recording natural or outdoor environments, I would be a little hasty. Whereas now, I feel I really need to sit in a space and ground myself before I record.<\/p>\n\n\n\n

I think a lot more intention goes into it now\u2014like, feeling how the sound resonates in my body and whether or not that\u02bcs something I want<\/em>, you know, an active memory of, something I can refer back to. So I\u02bcve become a lot more intentional, and maybe a bit pickier, about what I record, when, and what those recordings are used for<\/strong>. Because I don\u02bct think everything needs to be shared. It\u02bcs very sensitive\u2014it feels a lot more intimate now than before.<\/p>\n\n\n\n

PAN M 360: When you talk about the importance of knowing what it\u02bcs going to be used for, I guess it\u02bcs also a question of where it\u02bcs going to be played and who it\u02bcs going to be played to. How has that relationship between audience, sound, and space evolved for you? I know you organize and play events in Montreal and are very involved in the community. Is this, to you, a way of bringing the impact of what you’re learning into a wider sense?<\/strong><\/p>\n\n\n\n

IRL: <\/strong>Yeah, definitely. I was part of a long-running collective that still exists today\u2014 the ffiles<\/a>, a radio collective. When I was working with them, we were very feminist-focused. That really rooted me in the wider community in Montreal and drew a parallel between my sound art practice and my relationship with the community here.<\/p>\n\n\n\n

That platform allowed me to meet many people and gave artists a space to discuss their work. We had an n10.as show for many years where we booked people\u2014mostly queer, fem-identified, and LGBTQIA\ue09d folks\u2014to come on and play. It helped me grow and build my relationships within the community.<\/p>\n\n\n\n

I also want to say that without the community around me and the people I\u02bcve met in Montreal, I wouldn\u02bct have a music or radio practice. I\u02bcve had a lot of people offer me time, energy, and platforms to showcase what I can offer. Without that support, I honestly don\u02bct think I\u02bcd have a practice at all.<\/p>\n\n\n\n

PAN M 360: I guess you could say you have a pretty solid base. You’re doing n10.as, A Kind of Harmony<\/em>, you’re part of ffiles, and now you\u02bcre doing Substrat <\/em>at the S.A.T. How do you see this moment in your development as an artist?<\/strong><\/p>\n\n\n\n

IRL<\/strong>: It\u02bcs a huge moment in many ways. How do I want to put this\u2026 it\u02bcs pushed me to elevate my workflow and creative practice in a way I was kind of avoiding. I\u02bcm completely self-taught\u2014I didn\u02bct go to music school or take lessons. Most of what I\u02bcve learned has come from friends or learning on my own, intuitively. This show has shown me where I need to improve in order to excel\u2014or at least to showcase work that sounds good on a basic level.<\/p>\n\n\n\n

PAN M 360: What would you say is something you had to work on in preparation for Substrat<\/em>?<\/strong><\/p>\n\n\n\n

IRL: <\/strong>Because I work primarily with hardware and modular synths, I had to focus more on using a DAW. I had to learn a lot about audio routing\u2014which I knew nothing about before\u2014and also understand general recording rules: levels, frequencies, EQ.<\/p>\n\n\n\n

When I produce, it\u02bcs mostly just vibes\u2014and in a live context, that doesn\u02bct always translate. I\u02bcve played shows with gear that sounded terrible, and I walked away from those shows feeling defeated, not really knowing where I went wrong. But this project pushed me to see where I need to grow. I\u02bcm still learning a lot as a musician. Working in a space like the dome requires so much to produce a piece that\u02bcs engaging, sounds beautiful, and also functions technically. It\u02bcs been extremely challenging, but I\u02bcm very grateful to have been pushed.<\/p>\n\n\n\n

PAN M 360: I’m sure learning all this spatialization won\u02bct go to waste. You’ve done it before at the PHI Centre, and it seems like it’s becoming part of your practice. Do you think about space when you’re creating a piece?<\/strong><\/p>\n\n\n\n

IRL: <\/strong>That\u02bcs a great question. When Pablo, the engineer we were working with at the S.A.T., heard some of my sounds, he said: \u201cOkay, a lot of your sounds are recorded in this kind of spatial way\u2014they\u02bcre already spatialized in how they\u02bcre composed.\u02ee<\/p>\n\n\n\n

In my practice, I always think about using sound to envelop the listener and put them in a trance, so they lose track of time\u2014take them out of the space and into their body.<\/p>\n\n\n\n

PAN M 360: Talking about space\u2014what do you think about Substrat<\/em>\u02bcs use of the dome exclusively for sound? And more broadly, how do you feel about visuals over music\u2014or the lack thereof?<\/strong><\/p>\n\n\n\n

IRL: <\/strong>When they book you for the series, they tell you: there are no visuals in the dome. Personally, I prefer that. Visuals, especially when you’re confronted with screens, really change the experience. I’d love to perform in a space where people can just close their eyes, and I’m not even part of the performance\u2014where all they hear is the sound. That\u02bcs literally a dream come true for me.<\/p>\n\n\n\n

Of course, visuals can enhance a performance. If I were working with a VJ, I know exactly who I\u02bcd choose and the kind of material they\u02bcd use\u2014it could definitely enhance it. But visuals can overpower or detract from the experience of sound.<\/p>\n\n\n\n

With sound, you can sit in it and create your own meaning\u2014or sometimes the meaning already exists in your body. Visuals can pull you out of that embodied listening.<\/p>\n\n\n\n

It would be amazing to have an ongoing series exploring this kind of space\u2014it really does sound incredible in there.<\/p>\n\n\n\n

PAN M 360: Are there any other projects you want to plug for the people who\u02bcve made it this far?<\/strong><\/p>\n\n\n\n

IRL :<\/strong>Go check out the second season of A Kind of Harmony<\/em>. Otherwise, no other projects\u2014just IRL. You can find me on SoundCloud<\/a> or my website irluman.com<\/a>.<\/p>\n\n\n\n

PAN M 360: Or in real life<\/strong><\/p>\n\n\n\n

IRL: <\/strong>Yes\u2014or in real life. I\u02bcm definitely around. You\u02bcll see me dancing probably somewhere this or next weekend. I\u02bcm going to start putting together an album\u2014 look out for that.<\/p>\n\n\n\n

<\/p>\n\n\n\n

TICKETS & INFOS<\/a><\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Amanda Harvey, also known as IRL, is one of Montreal\u02bcs most engaged sound artists and musicians. Her studied approach comes from years of actively creating communities and nourishing her understanding of sound. If IRL\u02bcs soundscapes represent this depth, it is because they inspire themselves from various listening practices with vast social meaning. From being a […]<\/p>\n","protected":false},"author":1485,"featured_media":136794,"menu_order":0,"template":"","format":"standard","meta":{"_acf_changed":false,"_crdt_document":""},"categories":[4628],"tags":[],"genre":[3075,3159],"class_list":["post-136793","interviews","type-interviews","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-en","genre-ambient-2-electronic","genre-experimental-2"],"acf":[],"yoast_head":"\nSAT's Substrat Sound Series: IRL\u02bcs soundscapes - PAN M 360<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/panm360.com\/en\/interviews-panm360\/sats-substrat-sound-series-irl%ca%bcs-soundscapes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"SAT's Substrat Sound Series: IRL\u02bcs soundscapes - PAN M 360\" \/>\n<meta property=\"og:description\" content=\"Amanda Harvey, also known as IRL, is one of Montreal\u02bcs most engaged sound artists and musicians. 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