Alaclair Ensemble

Alaclair Ensemble
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Alaclair Ensemble

La troupe de postrigodon bas-canadienne Alaclair Ensemble est formée en 2010 par Maybe Watson, Vlooper, KenLo, Claude Bégin, Robert Nelson, Eman et Mas. Après 4,99, Les maigres blanc d’Amérique du Noir et Toute est impossible, Alaclair Ensemble relâche Les Frères Cueilleurs à l’automne 2016, ayant donné naissance au vidéoclip Ça que c’tait, cumulant à ce jour plus d’un million de vues sur Youtube ! En 2017, après six nominations à l’ADISQ et cinq au GAMIQ, Alaclair Ensemble reçoit les honneurs, se méritant trois Félix au Gala de l’ADISQ, dont Vidéoclip de l’année (Ça que c’tait) et Album Hip-Hop de l’année, ainsi que cinq prix Lucien au GAMIQ dont Artiste de l’année et Chanson de l’année. Après le succès du dernier album, qui a mené le groupe sur certaines des plus grandes scènes, tant au Québec qu’en Europe, Alaclair Ensemble se prépare à lancer son prochain album sur les deux continents !

Liens de presse

Tout le Monde en Parle – Entrevue
La Presse – Top 10 keb franco
CBC Music – 10 best Canadian francophone albums of 2018

Agent – Michaël Bardier
Térritoire: Monde

Spectacles à venir

  • 10/27/2019 @ Piano Nobile, Montréal, QC
  • 10/29/2019 @ Musée de la Civilisation, Québec, QC
  • 12/14/2019 @ Général Sherman, Blainville, QC
  • 01/31/2020 @ Le Belmont, Montreal, QC
  • 02/01/2020 @ Bistro L'Autre Bar, Joliette, QC
  • 02/07/2020 @ Carnaval de Québec, Québec, QC
  • 03/07/2020 @ La Forge à Bérubé, Trois-Pistoles, QC
  • 03/10/2020 @ The Sultan Room, Brooklyn, NY
  • 03/13/2020 @ La Petite Boite Noire, Sherbrooke, QC
  • 03/20/2020 @ Les soirées bas-canadiennes (DJ set), Scène extérieure, Panache et bois rond, Verdun
alaclair.com

Alex Zhang Hungtai

Alex Zhang Hungtai
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Alex Zhang Hungtai

After retiring his project Dirty Beaches, Zhang has been focusing on explorations of improvised music, Free Jazz, and his new role as a composer. His newer compositions predominantly works with saxophone, synthesizers, percussion and piano, furthering his research on ritualistic music of liminality. Besides his solo work, he is also a member of a Free Jazz/experimental trio with Portugese minimalist/architect David Maranha, and Free Jazz Drummer Gabriel Ferrandini in Lisbon. Zhang currently works as a composer for film soundtracks, along with acting in independent films.

Press links

The Wire – Divine Weight premiere

The FADER – « Pierrot » video premiere
Pitchfork – « Pierrot » video premiere

Agent – Michaël Bardier
Territory: North America

Spectacles à venir

  • Aucun spectacle.
alexzhanghungtai.bandcamp.com

Altin Gün

Altin Gün
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Altin Gün

On their debut album ‘On’ (Bongo Joe Records), the band show what happens when you open doors between Turkish folk songs which were passed on from generation to generation on the one hand and a dirty blend of funk rhythms, wah-wah guitars and analogue organs on the other. The Amsterdammers who come from various backgrounds (Turkish but also Indonesian and Dutch) comfortably create their work in the adventurous no-man’s land that exists between these two worlds.
Older generations of Turkish musicians have also experimented with opening doors between previously unconnected sonic worlds. During the seventies, artists such as Baris Manço, Selda Bağcan and Erkin Koray practiced a way of songwriting and composing similar to Altin Gün’s.

Manço, Bağcan and Koray have all influenced Altin Gün, but their foremost inspiration is Neşet Ertaş, a Turkish folk musician whose musical legacy is invaluable. Comparisons are almost impossible to make but imagine someone with the same impact and status as Bob Dylan or George Gerschwin and you’re getting close. Many of the songs he wrote have become standards in Turkey, national treasures which are cherished up until the present day. Altin Gün retain the lyrical and thematic structure of Ertaş’s songs, though they often alter their time signatures and add fuzzy bass sounds, sweltering organ sounds and raw saz riffs. Ertaş wrote the majority of the songs on the album even if these are hardly recognisable after all the work Altin Gün have done on them.

Let Altin Gün open that door for you and get ready to indulge in their fresh and beautiful sound.

Press links

KEXP – Live Performance
All Things Loud – Inside the world of Altin Gün

Agent: Michaël Bardier
Territory: Canada

Spectacles à venir

  • Aucun spectacle.
altingun.bandcamp.com

AMI DANG

AMI DANG
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AMI DANG

Ami Dang fuses sitar, voice, and electronics to create east-meets-west, ambient/trance music. On the all-instrumental album Parted Plains, she draws inspiration from South Asian and Middle Eastern folktales, specifically, the four tragic romances of Punjab, Sohni Mahiwal, Sassi Punnun, Heer Ranjha, and Mirza Sahiba; Flora Annie Steel’s Tales of the Punjab: Folklore of India, and selected stories from One Thousand and One Nights. Galvanized by the Western interpretations of these stories, Parted Plains unfolds as a new sort of soundtrack for a yet-to-be written folktale that is neither Eastern nor Western, not traditional or contemporary–but somewhere in between.

Liens de presse

FADER – Ten Songs You Need In Your Life
Pitchfork – Parted Plains review
The Guardian – Parted Plains Review + Global Album of the Month
Bandcamp – Album of the day

Agent – Michaël Bardier
Territoire – Amérique du Nord

Spectacles à venir

  • 10/23/2019 @ The Standard DTLA, Los Angeles, CA , USA
  • 11/01/2019 @ DICE Festival, Berlin, DE
  • 11/05/2019 @ Rhizome, Washington, DC, USA
  • 11/06/2019 @ Vox Populi, Philadelphia, PA, USA
  • 11/07/2019 @ Trans Pecos, Brooklyn, NY
  • 11/09/2019 @ Le Guess Who Festival, Utrecht, NL
  • 11/11/2019 @ Burdock Brewery, Toronto, ON, Canada
  • 11/12/2019 @ Strangebarn, Hamilton, ON
  • 11/15/2019 @ The Hungry Brain, Chicago, IL
  • 11/16/2019 @ Rozz Tox, Rock Island, IL
  • 11/17/2019 @ Trumpet Blossom, Iowa City, IA
  • 11/18/2019 @ Kaju, Louisville, KY, USA
  • 11/19/2019 @ Zebulon, Los Angeles, CA w/ Black Midi
  • 11/20/2019 @ Whistle Stop Bar, San Diego, CA
  • 11/21/2019 @ Rickshaw Stop, San Francisco, CA w/ Black Midi
  • 11/22/2019 @ Miniplex, Arcata, CA
  • 11/23/2019 @ Doug Fir, Portland, OR w/ Black Midi
  • 11/24/2019 @ The Crocodile, Seattle, WA w/ Black Midi
  • 01/29/2020 @ Joe's Pub, New York, NY
  • 02/13/2020 @ Mr. Smalls Theatre, Millvale, PA ‐ Billets
  • 02/14/2020 @ Songbyrd, Washington, DC ‐ Billets
  • 02/15/2020 @ Kings, Raleigh, NC ‐ Billets
  • 02/16/2020 @ The High Watt, Nashville, TN ‐ Billets
  • 02/19/2020 @ The Earl, Atlanta, GA ‐ Billets
  • 02/19/2020 @ Saturn, Birmingham, AL ‐ Billets
  • 02/21/2020 @ Barracuda, Austin, TX ‐ Billets
  • 02/22/2020 @ Paper Tiger, San Antonio, TX ‐ Billets
  • 02/23/2020 @ Ruins, Dallas, TX ‐ Billets
  • 02/25/2020 @ Valley Bar, Phoenix, AZ ‐ Billets
  • 02/26/2020 @ Soda Bar, San Diego, CA ‐ Billets
  • 02/27/2020 @ The Roxy Theatre, West Hollywood, CA ‐ Billets
  • 02/28/2020 @ Rickshaw Stop, San Francisco, CA ‐ Billets
  • 02/29/2020 @ Harlow's, Sacramento, CA ‐ Billets
  • 03/02/2020 @ The Crocodile, Seattle, WA ‐ Billets
  • 03/03/2020 @ Mississippi Studios, Portland, OR ‐ Billets
  • 03/22/2020 @ Théâtre Gilles-Vigneault, St- Jérôme, QC
amidang.com

Anemone

Anemone
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Anemone

Chloé Soldevila and her musicians have built a psychedelic pop world with twangy guitar riffs & haunting synth lines. A bed on which the singer’s catchy vocals lay, an ode to love.

Coming from a family of artists, Montreal native yet, raised between Barcelona and Montreal. Chloé grew up in the arts which have led her to be in musical training from a very young age, graduating from high school with special mentions in classical piano and flute. After pursuing jazz piano studies in Cegep, she left musical training to pursue her own specific goals within different mediums, she engaged with Photography and Film study at Concordia University. It’s the photography that inspires her at first. Through the medium, Chloé had the chance to meet several Artists such as Allah-Las, La Femme or Broncho, who she traveled with – mostly in the United States (California) and France – to photograph. These travels had ignited for Chloé a desire to write and compose her own music. Spending hours with Miles Dupire-Gagnon, Zach Irving and the rest of the band was the inspiration she needed to move from flirting with music to actually engaging with it. Her strong classical and countermelody composition background came into play, but this time, influenced with words about her life during those years, directly inspired by the observations she would make on herself and on the life of the many people she met along the way.

Press links

Exclaim! – 22 Most Anticipated Canadian Albums of 2019
CLASH – « She’s The One » Premiere
The Toronto Star – Interview

Agent – Ouss Laghzaoui
Territory: North America

Spectacles à venir

  • Aucun spectacle.
facebook.com

Anika

Anika
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Anika

Annika Henderson is a musician, poet and artist who rose to fame as ANIKA with two highly acclaimed eponymous records (Recorded with Geoff Barrow of Portishead and his band Beak>, released on Stones Throw in the US), and was touring the world. She is well known as a DJ too, hosts a radio program on BCR – Berlin Community Radio, is seen and heard in experimental cinema and collaborates with a variety of Berlin, London, or Mexico City based artists and musicians among them Jandek, Shackleton, Michael Rother (Neu!), Dave Clarke (Skint BMG), Andreas Reihse of Kreidler, T.Raumschmiere (Sleeping Pills and Habits), Doireann O’Malley, Ricardo Domeneck, Stine Omar / Max Boss (EASTER), Phillip Geist (Live Video mapping project and soundtrack in Tehran, Iran) or Yann Tiersen. Last year, Anika released an album with her new Mexico City-based project, Exploded View on Sacred Bones (US).

In 2017, Anika released a string of new material, comprising of two releases with new partners and a follow-up record with her Mexico-City based band, Exploded View. In July was the release of her new collaboration projection with bass outsider, Shackleton, in the form of a full length LP released on Shackleton’s own Woe To The Septic Heart! label and accompanied by a string of exclusive live dates. Next came another new collab with Techno legend, Dave Clarke, on his long- awaited full-length LP The Desecration Of Desire, which came out in October (Skint BMG). The year was rounded off with a follow-up EP from Exploded View in November, released again on Sacred Bones (US).

Spectacles à venir

  • 10/31/2019 @ Villan, Brooklyn, NY
anikainvada.tumblr.com

Ben Shemie

Ben Shemie
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Ben Shemie

Always exploratory and meticulous, Shemie’s solo pursuits involve performance based experimental sound practices that integrate freeform excursions and more structured compositional music — veering into classical, radio art, new technologies and all manner of other avant-garde investigation.

Best known as singer and guitarist for art-rock-tronica act Suuns, Shemie also boasts a background in modern classical composition and experimental performance. A fascination for music has expanded his sound to fuse it with the conventions of many genres. Ever inquisitive, he seeks out novel conceptual projects and challenging delivery systems for his restless musical soul.

Press links

Selft-Titled Mag – premiere
Exclaim! – review 9/10
Mowno – interview

Agent – Michaël Bardier
Territory – North America

Spectacles à venir

  • 11/21/2019 @ La Vitrola, Montreal, QC
facebook.com

Bernardino Femminielli

Bernardino Femminielli
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Bernardino Femminielli

Bernardino Femminielli works in media including music, performance, poetry and film under the guise of a hyper-sexual, genderless provocateur. His work and character are a synthesis of mysticism, transgression, danger and pleasure– a detached crooner deep within a distopian discotheque. Narrating in French and Spanish, from classical arrangements to brutal Italo-disco, from heavy cosmic drone to mutant industrial: his sonic ventures reflect his adopted personas. His lyrics explore an imagined illicit paradise full of excess, drugs, bars, pleasure, darkness and companionship. Much of his poetry is arranged using the cut-up technique and is composed similarly to works of transgressive fiction. On stage, the confrontational yet intensely vulnerable performer explores the rich and dark energy of French and German cabaret– emphasizing the « total » performance where poetry, music, film, and dance coalesce.

Bernardino Femminielli performs as a solo act but is often joined on stage by musicians Pierre Guerineau and Asael Robataille from Montreal electronic projects Essaie Pas and Bataille Solaire, as well as with his side project Femminielli Noir (Jesse Osborne-Lanthier) and is a long time collaborator with Alex Zhang Hungtai (Dirty Beaches).

Press links

Pitchfork – Best New Track
XLR8R – Best of Dancity Festival
Resident Advisor – Best of Saturnalia Festival

Agent – Michaël Bardier
Territory: North America

Spectacles à venir

  • Aucun spectacle.
femminielli.bandcamp.com

Beverly Glenn Copeland

Beverly Glenn Copeland
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Beverly Glenn Copeland

Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought-after albums of folky jazz in the key of Joni. But it was this album, Keyboard Fantasies, originally self-released on cassette in 1986 that really caught our attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place.  It is not surprising that Red Bull Music Academy, Sappy Fest, Suoni Per Il Popolo, Kazoo Fest invited him to perform.

Beverly Glenn Copeland, born into a family all of whom were very musical, essentially studied the classical piano repertoire from ‘cradlehood,’ listening to his father playing the piano four to five hours a day. He went on to study classical music at McGill, and then after a few years of concertizing – singing the European song repertoire – he suddenly felt called to write music that would weave all the different musical cultures he had come to love.

During his lifetime thus far, Glenn has written a large body of music for adults, music for film, four musicals for children, recorded six albums of his songs, and been the recipient of composition awards from the Canada Council, Ontario Arts Counciland Arts NB.  His songs have been performed by various Canadian artists including Rita MacNeil and Jackie Richardsonas well as by the Toronto Pops Orchestra under the direction of David Warrack.

Concurrent with writing compositions for adults, Glenn wrote music for children’s television programs in England, Canada, and the U.S.  He also had the wonderful opportunity to spend twenty-five years entertaining kids as a regular actor on the Mr. Dress-Up Show.

After many years of absence from the concert stage, Glenn has resumed performing with his new band, Indigo Rising, in Canada and Europe. He is also providing Artist Talks for audiences in his concert locations. With great joy and appreciation Glenn acknowledges his deep connection with the younger generations that are now so enthusiastically embracing his music!

Liens de presse

Bandcamp – Daily Interview
Red Bull Music Academy – Interview
CBC – Interview
Le Guess Who 2018 – live performance
Resident Advisor – ‘Keyboard Fantasies’ review

Agent – Michaël Bardier
Territory – North America

Spectacles à venir

  • 11/08/2019 @ Yes, Manchester, UK
  • 11/10/2019 @ Centre for Contemporary Arts, Glasgow, UK
  • 11/13/2019 @ Bush Hall, London, UK
  • 11/19/2019 @ TivoliVredenburg, Utrecht, Netherlands
  • 11/22/2019 @ Bablyon Bar Festival 2019 Leuven, Belgium
  • 12/08/2019 @ MoMA PS1, Queens, NY
  • 12/12/2019 @ Johnny Brenda’s, Philadelphia, PA
songcycles.com

Cadence Weapon

Cadence Weapon
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Cadence Weapon

Cadence Weapon is the musical project of Edmonton-born, Toronto-based rapper, producer and poet Roland “Rollie” Pemberton. The son of a pioneering hip-hop radio DJ, Pemberton was introduced to a diverse library of music at an early age. After teaching himself to rap at age 13, he would soon enter freestyle battles and sit in as a member of his uncle’s funk band. Inspired by Edmonton’s burgeoning experimental electronic and underground rap scenes, Cadence Weapon developed a singular production style harnessing aspects of both worlds. He released his debut album Breaking Kayfabe to international critical fanfare, earning him record deals with Big Dada and Anti Records. That album was shortlisted for the Polaris Music Prize; his album Hope In Dirt City would do the same in 2012.

Known for his sharp lyricism, Pemberton served as Poet Laureate of Edmonton from 2009 to 2011, making him the literary ambassador of his hometown. His debut book of poetry Magnetic Days was released by Metatron in 2014 and his poem “The Garden” was incorporated into a bronze sculpture at the Alberta Legislature Grounds in Edmonton in 2018. Pemberton also acted as the narrator for the VICELAND TV series PAYDAY and Mister Tachyon and has hosted lectures for Red Bull Music Academy and Native Instruments.

Cadence Weapon has returned with a new self-titled album on eOne Music Canada that expands his stylistic range by incorporating elements of trap, funk, electro, techno and grime. Featuring production by KAYTRANADAJacques Greene and Blue Hawaii and appearances by Deradoorian and Casey MQ, this record finds Cadence refining his songwriting as he explores themes of individuality, race, technology and existentialism through his expressive lyrics.

Press links

BeatRoute – Cadence Weapon Maps His Return To Form From The Six
NOW – How moving to Toronto helped Cadence Weapon level up

Exclaim! – « Jackson Pollock » Premiere

Agent: Ouss Laghzaoui
Territory: North America

Spectacles à venir

  • Aucun spectacle.

Carla Dal Forno

Carla Dal Forno
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Carla Dal Forno

Carla dal Forno is an Australian singer, songwriter and multi-instrumentalist, currently based in Berlin. She is a member of the groups F ingers and Tarcar, and formerly cult Melbourne outfit Mole House.  Blackest Ever Black mainstay Carla Dal Forno has launched a new label, Kallista Records.

The inaugural release on the Australian artist’s imprint is a two-track EP, So Much Better/Fever Walk. The project sees Dal Forno return to the melancholic, lo-fi synth-pop of both her 2016 album You Know What It’s Like and her 2017, Einstürzende Neubauten-referencing EP The Garden.

Look Up Sharp is set to be released on Oct 4th 2019 via Kallista Records

Press links

CRACK Magazine – “Look Up Sharp” article
Resident Advisor – “Look Up Sharp” article
FACT Mag – “Look Up Sharp” article

Agent – Michaël Bardier
Territory: North America

Spectacles à venir

  • 10/22/2019 @ Alice, Copenhagen, DK
  • 10/23/2019 @ FOLK, Gothenburg, SE
  • 10/24/2019 @ Fasching, Stockholm, SE
  • 10/25/2019 @ EKKO Festival, Bergen, NO
  • 11/12/2019 @ Electrowerkz, London, UK
  • 11/13/2019 @ YES, Manchester, UK
  • 11/14/2019 @ The Exchange, Bristol, UK
  • 11/15/2019 @ Headrow House, Leeds, UK
  • 11/16/2019 @ The Glad Cafe, Glasgow, UK
facebook.com

Corridor

Corridor
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Corridor

Corridor est un groupe de Montréal et Junior, son premier album à paraître via Sub Pop / Bonsound, a été fait hier. À peine quelques jours après avoir signé ses contrats, le groupe de rock’n’roll entrait en studio, courant contre la montre pour créer l’album le plus éblouissant, le plus spontané et le plus audacieux de sa jeune carrière: 39 minutes de fléchettes et d’esquives de guitares, d’harmonies vocales en spirale, empreintes de la nostalgie complexe d’un dimanche après-midi.

Corridor n’en est pas à son premier rodéo. Junior est le troisième long jeu du groupe, qui comme les deux précédents, a été enregistré avec leur ami, réalisateur (et parfois coloc) Emmanuel Ethier. Toutefois, Le Voyage Éternel (2015) et Supermercado (2017) avaient été réalisés en toute nonchalance, leurs chansons respectives prenant forme au fil des saisons. Cette fois, Dominic Berthiaume (voix/basse), Julien Perreault (guitare), Jonathan Robert (voix/guitare/synthés) et Julien Bakvis (batterie) ne se sont pas permis une telle indulgence. S’étant engagé à sortir un album tous les deux ans, la conception de Junior nécessitait un blitz créatif de la part du groupe. Si vous voulez sortir quelque chose cet automne, nous avons besoin des bandes maîtresses avant le 10 mai, les avait averti le label alors que l’hiver était déjà à ses derniers retranchements. Le 1er mars, Corridor est entré en studio; à la mi-avril, Corridor est sorti du studio. Ils avaient en quelque sorte créé Junior et le résultat est, si nous pouvons nous permettre, spectaculaire.

Deux voix, deux guitares, une basse, une batterie: l’intemporalité du set-up de Corridor sous-tend de l’intemporalité du son; un rock’n’roll empruntant à chacune des six dernières décennies – punk, psych, jangle pop, daydream et swoon. C’est une musique musclée, excitante et pleine d’amour, dont les riffs agissent comme un remède. Alors que les albums précédents du groupe peuvent parfois sembler saturés, vingt idées dans la même chanson, les nouvelles pièces du groupes sont hypnotiques, distillées. “Une partie de la beauté de la chose, c’est que nous n’avons pas eu le temps d’y penser”, dit Dominic Berthiaume. Six des dix titres de Junior ont été composés en un seul week-end. Les paroles de Bang ont été écrites à la veille des séances de studio, alors que Jonathan Robert commençait à paniquer: “Je paierai tôt ou tard”, chante-t-il. Moins de jams, moins de overdubs, pas de séjour à la campagne pour s’isoler dans un chalet. Même la pochette est arrivée à point nommé. Malgré certains chefs-d’œuvre méticuleux, le « collage merdique de dernière minute » de Jonathan, montrant un oeuf qui dit bonjour, est celui que le reste du groupe a choisi pour la pochette.

Le mélange de rigueur et de désinvolture est peut-être la clé du succès de Corridor. Des chansons comme Microscopie et la remarquable Domino sont des pièces réfléchies, empreintes d’un « laisser-aller » calculé. Avec sa structure « appel-réponse», Topographe est à l’image de deux cupidons rivaux qui se lancent des flèches d’un bord et d’autre d’un ravin. Les frénétiques Pow et Goldie sont comme des voitures de course, ou des équipes de chevaux, qui poursuivent un souvenir à toute vitesse. 
Oscillant entre rythme nerveux et hymne glorieuse, Junior, la pièce titre de l’album, est en fait un hommage au guitariste Julien Perreault, le joueur étoile du groupe. Malgré le désappointement de ses parents déçus, il est le VIP de Corridor. Les dix titres de Junior regorgent d’hommages du genre, comme des portraits impressionnistes de personnages issus de la vie des membres du groupe. Leur ton est affectueux et leur sens est nébuleux.

C’est la première fois, en 33 ans d’histoire, que Sub Pop signe avec un groupe francophone. Peut-être que la magie du groupe vient de ses hooks ingénieux, de sa vision artistique. C’est peut-être le panache de la scène underground québécoise ou la camaraderie de Jonathan Robert et Dominic Berthiaume, qui jouent ensemble depuis l’âge de 14 ans. C’est probablement tout ça, et aucun d’eux : Junior est une joie, un miracle précipité, parce que c’est tellement amusant à écouter. Puisque cet album dure 39 minutes et qu’il y a 24 heures dans une journée, vous pouvez l’écouter 36 fois d’ici demain.

Liens de Presse

Stereogum – Topographe write-up
Les Inrocks – Topographe write-up 

Clash Magazine – Domino is a mighty guitar-pop epic
Paste Magazine – Domino Track review
Noisey Vice – Corridor made the best french record of 2017 – 2018 -2019 – 2020 (2021 the world explodes) 

Agent – Ouss Laghzaoui
Territory: North America

Spectacles à venir

  • 10/23/2019 @ Boot & Saddle, Philadelphia, PA
  • 10/25/2019 @ Comet Ping Ping, Washington, DC
  • 10/29/2019 @ Paradiso (Upstairs), Amsterdam, NL
  • 11/04/2019 @ Point Ephemere, Paris, FR
  • 11/06/2019 @ The Waiting Room, London, UK
  • 11/08/2019 @ Hafenklang, Hamburg, DE
  • 11/08/2019 @ Westgermany, Berlin, DE
  • 11/10/2019 @ Sonic City Music Festival , Kortrijk, BE
  • 11/20/2019 @ The Garrison, Toronto, ON
  • 11/22/2019 @ Le National, M for Montreal Festival, Montreal, QC
  • 11/23/2019 @ L'Anti, Quebec, QC
  • 11/23/2019 @ L'Anti, Québec, QC
  • 12/04/2019 @ Milk Bar, San Francisco, CA
  • 12/07/2019 @ Bunk Bar, Portland, OR
  • 12/10/2019 @ Barboza, Seattle, WA
  • 12/13/2019 @ Moroccan Lounge, Los Angeles, CA
  • 01/19/2020 @ Lincoln Hall, Tomorrow Never Knows, Chicago, IL

Chad VanGaalen

Chad VanGaalen
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Chad VanGaalen

Chad VanGaalen is a notorious homebody, a visual artist, an animator, and an incredibly prolific musician. Across the course of a diverse and unique career, VanGaalen has become one of Canada’s most celebrated and unpredictable artists. An accomplished animator and illustrator, VanGaalen’s hand-animated music videos and his own animated short sci-fi film have been featured in film festivals and galleries worldwide. Over the course of his six studio albums (Sub Pop / Flemish Eye) —and countless other releases— he has built up a devoted fanbase, self-producing and playing almost every instrument. He lives a quiet life and rarely leaves his rickety house in Calgary, Canada, and can often be found drawing anthills in the nearby schoolyard.

Press links

BeatRoute – Chad VanGaalen: An Artist’s Work Is Never Done
CBC – Interview
Exclaim! – « Stuttering Light » Video Premiere

Agent – Ouss Lagzhaoui
Territory: USA

Spectacles à venir

  • 11/15/2019 @ Nasher Sculpture Center, Dallas, TX
chadvangaalen.bandcamp.com

Efrim Manuel Menuck

Efrim Manuel Menuck
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Efrim Manuel Menuck

Efrim Manuel Menuck returns with his second album Pissing Stars, the brilliantly intense follow-up to his 2011 solo debut Plays “High Gospel” and the first new material with Menuck as central songwriter and vocalist since 2014’s acclaimed Fuck Off Get Free We Pour Light On Everything from his chamber-punk-rock band Thee Silver Mt. Zion.

The Montréal-based co-founder of Godspeed You! Black Emperor and Thee Silver Mt. Zion has much-deserved cult status among fans of political punk, post-rock and avant-noise songcraft. Menuck celebrates 25 years of unflinching and uncompromising sonic output with Pissing Stars, wherein he launches acerbic darts, impassioned salvos and fragile flowers into gusts of noise-battered song built around pulsing maximalist electronics and drone, composed on modular synthesizer and guitar, shot through with alternately plaintive, chilling, often processed vocals. Pissing Stars is Menuck at his most vulnerable and his most adventurous – with a timely narrative framework that only he could conjure.

Liens de presse

Pitchfork – Pissing Stars Album Review
Exclaim! – Pissing Stars Album Review
The Montreal Gazette – Interview

Agent – Michaël Bardier
Territoire: Monde

Spectacles à venir

  • 10/20/2019 @ Sonic Project, Iwaki, JP
cstrecords.com

Eli Keszler

Eli Keszler
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Eli Keszler

Eli Keszler is a New York based artist, composer and percussionist. Keszler’s music, installations, and visual work have appeared at the Whitney Museum, Lincoln Center, MIT List Center, 67 Ludlow, Victoria & Albert Museum, Sculpture Center, The Kitchen, South London Gallery, Hessel Museum, Harvard’s Carpenter Center for the Visual Arts, Luma-Foundation, Barbican-St. Lukes, Walker Art Center, LAX Art, and MoMA PS1. He has released solo records for Shelter Press, Empty Editions, ESP-DISK’, PAN and REL Records. As a composer, Keszler’s commissions include: the Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion. Keszler has collaborated with Oneohtrix Point Never, Laurel Halo, Kevin Beasley,  Rashad Becker, Laure Prouvost, and David Grubbs among others.

Liens de presse

Pitchfork – Stadium review 8/10
Boomkat – Album of the week
Live video – The Kitchen, Oct 2nd 2018
FACT Mag – Live
Washington Post – Best of 2018

Agent – Michaël Bardier
Territory: North America


Spectacles à venir

  • 10/20/2019 @ L.E.V Festival, Girona

Essaie Pas

Essaie Pas
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Essaie Pas

Montreal-based electronic duo Essaie pas is comprised of Marie Davidson and Pierre Guerineau. Both are respected musicians in their own right – Marie having released two acclaimed solo records, with Pierre being best known for production work on underground Canadian musicians such as Dirty Beaches and Femminielli. Essaie pas was born on a hot summer night in 2010, releasing some ultra-limited singles which culminated in their debut LP, Nuit de noce (Teenage Menopause Records) in 2013. The mix of drawling guitars, français mumbles, and minimal electronics caught the ear of DFA Records, who booked the pair to open for Factory Floor on their first North American tour.

Agent – Michaël Bardier

Spectacles à venir

  • Aucun spectacle.
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Exploded View

Exploded View
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Exploded View

Exploded View, the international music project of Annika Henderson, Hugo Quezada, and Martin Thulin has returned and taken flight with their second full length, Obey. The album was recorded at Hugo’s and Martin’s studios in Mexico City with Annika visiting from Berlin. Leaving behind their raw, live recording process, and embracing overdubs and multi-instrumentalism, the band has crafted their most ambitious work to date. The four-piece that recorded the band’s self-titled debut album and Summer Came Early EP became three to create a more concise collection of songs. Their motivation for creating together remains purely passionate and the improvisational spark the band is known for has morphed into the emotional flames of being close friends with a deep desire to make music with each other.

This passion serves as the main conceptual thread throughout the album and the result is an almost hypnotic dream sequence that lulls the listener into a lucid state. Once in this state you become free to experience all of the classic dream motifs that the band has in store: intrigue, danger, ecstasy, visions that are hard to place but feel primordial, and a constant sense of movement. From the aptly titled opener “Lullaby” the record weaves you through 10 apocalyptic yet soothing songs. By the time you reach the song “Obey,” you are firmly in the band’s palm. And the titular track delivers, bringing you on a hypnotic voyage with a shuffle 3/4 rhythm, where singer Annika Henderson’s voice is caught in a rotating, inescapable rabbit hole tale, accompanied by the high-pitched modular bleeping sounds of the Moog and eerie landscape of the Solina.

When asked about the title of the record, singer Annika said “this is in reference to so many things. We live in a society where we must obey or risk punishment. This can be social punishment, legal punishment, emotional punishment – if you dare to step outside, you will reap the reward. We live in a time when we are self-certifying a lot. Whether it’s how we present ourselves on social media or our diet or our job – we obey the social norms. Our fears are used against us by advertisers. Our fears of growing old or being excluded – we must conform or pay the high price – buy this and you will be accepted. We must obey.” She adds musingly at the end “It’s also funny because in the band we often feel like we are all compromising, so we must all obey each other’s wishes to some extent too.” The meta nature of this sentiment, wanting to break free and also recognizing necessary emotional compromises, is just one of many juxtapositions in this record. The band recognizes that some of the freedoms they advocate for are only attainable in sleep and have thus created this dream state record to help release us all.

Striking the balance between precise and wild, between unshackled and grounded, grooving and unhinged, has always been Exploded View’s specialty. They have a special knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This unique ability to make beautiful music that feels written beyond the veil is at the heart of what makes the band so captivating and powerful, and it’s on full display all over Obey.

Agent – Michaël Bardier

Spectacles à venir

  • Aucun spectacle.
explodedviewband.tumblr.com

Faith Healer

Faith Healer
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Faith Healer

When Edmonton’s Jessica Jalbert first began performing solo under the name Faith Healer, the alias was her way of avoiding being pigeonholed as a singer-songwriter. Now, however, times have changed: Faith Healer has turned into a band, with singer-guitarist Jalbert joined by drummer/multi-instrumentalist Renny Wilson. Their first LP as a duo is called Try ;-).

Balancing melancholic lyrics with playful moods, lush melodies with straightforward arrangements, Try ;-) is the sound of an introspective loner leaving her bedroom to make a rock record with her best bud. It’s what happens when you stop taking life as it comes and instead, throw all of your efforts into making timeless pop songs. Forget what the bullies told you in middle school—there’s nothing cooler than trying hard.

The intensive creative process inspired the title of Try ;-) and serves as a reminder that sometimes you need to grab life by the horns rather than waiting for inspiration to strike. As for that winky face: “I always use that winking emoticon,” Jalbert says with a laugh. “I think it’s hilarious. I think it’s cheeky and fun, which is something I was trying to access a little more with this record.”

Agent – Ouss Laghzaoui

Spectacles à venir

  • Aucun spectacle.

Faten Kanaan

Faten Kanaan
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Faten Kanaan

Brooklyn-based composer and musical artist Faten Kanaan builds songs by live-looping them, without the use of samplers, sequencers, or arpeggiators. Cyclical patterns are central to her work, with the exploration of harmony and counterpoint as narrative tools. Sound & silence are used as intuitive gestures to tell a wordless story.  In live performances, a vocabulary of gestural kinesic choreography functions as an extension of the music, and in lieu of lyrics. A projected image is sometimes utilized to manipulate the space with architectural and natural elements. This subtly transforms the existing venue into a new setting for the story to unfold and journey to take place.

Inspired by cinematic forms and mythological/folkloric story structures: from sweeping landscapes and quiet romances, to patterned tensions and dream sequences; she focuses on bringing an earthy, visceral touch to electronic music. In symbiosis with technology is an appreciation for the vulnerability of human limitations and nuances.

« A strangely haunting yet beautiful bouquet of nocturnal, electronic blooms ranging from poignant ambient vignettes to chamber-like pop, from Brooklyn’s Faten Kanaan – a gifted musical story-teller » – Boomkat

Liens de presse

Exclaim! – premiere
Boomkat – profile
NTS – profile

Agent – Michaël Bardier
Territoire – Monde

 

Spectacles à venir

  • 11/07/2019 @ Le Guess Who?, Utrecht, NL
fatenkanaan.com

Fly Pan Am

Fly Pan Am
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Fly Pan Am

Fly Pan Am formed in Montreal in 1996 and played their earliest shows with many of the city’s emerging instrumental and experimental rock groups (including Exhaust, Godspeed You! Black Emperor and The Shalabi Effect) in various alternate venues and extra-official warehouses during the late ’90s. The band’s four founding members worked through four Constellation release from 1998-2004 and went on hiatus in 2005. They are: Roger Tellier-Craig (guitars, tapes, electronics, vocals); Jonathan Parant (guitars, tapes, electronics, vocals); J.S. Truchy (bass, tapes, electronics, vocals) and Félix Morel (drums, tapes). Eric Gingras (guitars, organs, percussion) joined the group in 2002.

The band’s first release was a split 7″ with Godspeed, issued by local zine aMAZEzine in 1998. They began recording their first full-length later that year, released as a self-titled CD and 2xLPby Constellation in 1999. As Montreal’s rock instrumentalists began to cross-pollinate and collaborate during this period, Fly Pan Am teamed up with sound artist Alexandre St-Onge; they premiered their first joint piece at Constellation’s Musique Fragile concert series in 1998, and went on to record it for their first album. St-Onge remained a regular guest on their earlier output, appearing on various tracks throughout the band’s recorded work.

Fly Pan Am has also collaborated with electronic artists Tim Hecker and Christof Migone, including a number of unreleased recording sessions, some of which can be heard on Constellation’s Song of the Silent Land compilation, as well as on Tim Hecker’s Mirages and on one track from N’écoutez pas.

During Fly Pan Am’s extended hiatus, the band members continued to explore various sonic possibilities. Félix toured and released LPs with sci-fi prog punkers Panopticon Eyelids and psychedelic death rockers No Negative, as well as working as a collage artist designing artwork for a number of releases. Jonathan played in the bands Feu Thérèse and K.A.N.T.N.A.G.A.N.O., and he composed the music for a number of theatre and dance companies, touring with them over the last decade. He his currently creating a new sound project named Actors Artificial. Roger started the audiovisual electronic project Le Révélateur with video artist Sabrina Ratté, touring and releasing a number of records on labels like NNA Tapes and Root Strata, and he graduated from the Conservatoire de Musique de Montréal in electroacoustic composition in 2019. JS has toured as a solo artist, releasing records on labels such as Root Strata and Digitalis, and he co-founded Avec le soleil sortant de sa bouche, as well has the now defunct label Los Discos Enfantasmes.

Fly Pan Am has toured Europe and North America numerous times, sharing bills with GY!BE, Do Make Say Think, Stereolab and Broadcast, among others. They have performed twice at Fonderie Darling, the Montreal installation art centre run by Quartier Ephemere. They spent a week performing in Portugal in 2002, at the invitation of Visao Periferica, and played the Festival International de Musique Actuelle de Victoriaville in 2004.

The group reunited in 2018 for a performance in Montreal, their first live show in 14 years.

Press links

Pitchfork / « N’Écoutez Pas » review
Cult MTL – Experience Makes The Difference – interview

Agent: Michaël Bardier
Territory: World

Spectacles à venir

  • 03/22/2020 @ Colston Hall, Bristol, UK
  • 03/23/2020 @ The Rose Hill, Brighton, UK
cstrecords.com

Helena Deland

Helena Deland
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Helena Deland

Les compositions d’Helena Deland sont fortement menées par l’émotion. Sa pop sincère,
accrocheuse, mais imprévisible, évite de se poser dans les zones trop achalandées. Féminines
et engageantes, les pièces qu’elle chantait autrefois seule à la guitare sont désormais
interprétées en quatuor. Cette formule permet d’entrelacer la pulsion intime de la composition et
la création de paysages sonores riches et oniriques.
Il y a un moment qu’Helena accumule subtilement des chansons. Son intérêt grandissant pour
les mots et la littérature allié à sa tenue de journal quotidienne ont modelé son écriture en un
tout toujours plus mature et cohérent. Naturellement pudique, c’est au fil des rencontres et des
collaborations que ses oeuvres se sont rendues aux oreilles attentives du public.
Originaire de Québec, c’est lorsqu’elle s’installe à Montréal que son amour pour la chanson se
matérialise. Après avoir prêté sa voix à quelques projets dont ceux de Cri, Ludovic Alarie et Men
I Trust, c’est à l’automne 2015 qu’elle entre en studio pour enregistrer son premier album, un
EP de quatre titres intutilé Drawing Room, réalisé par Jesse Mac Cormack.

Spectacles à venir

  • Aucun spectacle.
facebook.com

Irreversible Entanglements

Irreversible Entanglements
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Irreversible Entanglements

Irreversible Entanglements are a liberation-oriented free jazz collective formed in early 2015 by saxophonist Keir Neuringer, poet Camae Ayewa (a.k.a. Moor Mother) and bassist Luke Stewart, who came together to perform at a Musicians Against Police Brutality event organized after the slaying of Akai Gurley by the NYPD. Months later the group added trumpeter Aquiles Navarro and drummer Tcheser Holmes (a duo who also performed at the MAPB event) for a single day of recording at Seizure’s Palace in Brooklyn, and the full quintet’s first time playing together was captured for this debut. In four relentless bouts of inspired fire music the instrumentalists explore and elaborate compositional ideas drawn from their deep individual studies of free jazz improvisation, but the tone of each piece is driven decisively by Ayewa’s searing poetic narrations of Black trauma, survival and power. The message is the undeniable essence of the music. Though free jazz with voice is an uncommon approach in the modern day landscape of the genre, the spirit and subject the band channels and explores represent a return to a central tenant of the sound as it was founded – to be a vehicle for Black liberation. As creative and adventurous as any recording of contemporary avant-garde jazz but offering listeners no abstractions to hide behind, this is music that both honors and defies tradition, speaking to the present while insisting on the future.
Past / future live performances include Le Guess Who, NYC Winter Jazz Fest, Jazz Festival Willisau, Donaufestival, Big Ears Festival, Ecstatic Music Festival, Padova Jazz Festival, RBMA, Willisau Jazz festival, Berlin Jazz Fest, Brighton Jazz Festival, Unsound, Pitchfork Festival, Rewire amongst others.

Spectacles à venir

  • 12/07/2019 @ Big Day In, The Haunt, Ithaca, NY
irreversibleentanglements.com

Jerusalem In My Heart

Jerusalem In My Heart
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Jerusalem In My Heart

Jerusalem In My Heart (JIMH) returns with Daqa’iq Tudaiq, the third full-length album from the Montréal-Beirut contemporary Arabic audio-visual duo, following the acclaimed 2015 release If He Dies, If If If If If If (year-end lists at The Wire (#39), The Quietus (#24) and A Closer Listen (Top 10), among other accolades).

Featuring voice, electronics, buzuk and other instrumentation from composer-producer Radwan Ghazi Moumneh (Matana Roberts, Suuns, Big Brave) and complemented by the 16mm analog film work of Charles-André Coderre in live performance, JIMH continues to expand the horizons of its profound conceptual and aesthetic engagement with Arabic/Middle-Eastern traditions. Daqa’iq Tudaiq translates as “minutes that bother/oppress/harass” – which presumably needs no further explanation – and features two distinct album sides of music.

Side One realizes a long-held dream of Moumneh’s to record a modern orchestral version of the popular Egyptian classic “Ya Garat Al Wadi” by the legendary composer Mohammad Abdel Wahab. JIMH assembled a 15-piece orchestra in Beirut, enlisting the celebrated Montréal-Cairo musician/composer Sam Shalabi (Land Of Kush) as arranger and musical director for the session. Anchored by the stately hypnotic pace of plucked and percussive instruments (riq, santur, derbakeh, kanun), the piece unfolds with lush, languid, reverb-drenched manoeuvrings through virtuosic Maqam shifts (Oriental scales). Moumneh’s melismatic lead vocals and electronic production sensibility pay homage to the genre’s documented historical recording traditions, while pushing things subtly and respectfully into new territories of sonic distortion and noised, artefact-laden transmission. The song’s original title (with lyrics penned in 1928 by the poet Ahmad Shawqi) translates as “Oh Neighbour Of The Valley”, but JIMH takes a different line from the original lyric as the new title for its orchestral-electronic re-interpretation. “Wa Ta’atalat Loughat Al Kalam” (“The Language Of Speech Has Broke Down”) is an expression of wordless love and transcendent communication between two lovers’ eyes in Shawqi’s poem; JIMH re-titles the song with this line, exploding the sentiment with more complexity, tragedy and socio-political meaning – also prefiguring the formal aesthetic ruptures JIMH bring to the piece itself. Love in a time of politics, politics in a world conspiring against love, and the specificity of Arab diasporic experience in our brutish 21st century.

Side Two comprises four tracks of non-ensemble “solo” material by Moumneh which push rupture and decomposition/recomposition of tradition further into avant-garde territory – voice, buzuk and electronics take the lead on a suite of emotive and evocative songs, including the percussive loop-driven instrumental “Bein Ithnein” (“Between Two” ) and the stunningly unsettling processed vocal track “Thahab, Mish Roujou’, Thahab” (“The Act Of Departing, Not Returning, Departing”).

Daqa’iq Tudaiq is a masterful, mesmerizing artistic statement and confirms Jerusalem In My Heart as one of the most engaged and forward-looking avant-Arabic projects at work in contemporary music today. Thanks for listening.

Agent – Michaël Bardier

Spectacles à venir

  • 11/17/2019 @ Museum Serralves, Porto, PT
  • 03/24/2020 @ Bad Bon, Dudingen, CH
  • 03/26/2020 @ Korzo, The Hague, NL
jerusaleminmyheart.com

Jessica Moss

Jessica Moss
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Jessica Moss

Montreal violinist Jessica Moss has performed and recorded with a wide spectrum of ensembles over the last two decades. Best known as a permanent member of Thee Silver Mt. Zion Memorial Orchestra, she was also a founding member of avant-klezmer group Black Ox Orkestar, recorded and toured with the Vic Chesnutt band for the two albums released on Constellation, and worked extensively with Carla Bozulich’s Evangelista. She has also performed and recorded as a guest with many of Montreal’s best known artists, most recently with Big|Brave on their acclaimed 2016 record for Southern Lord. She was featured in Jem Cohen’s Empires of Tin project, and joined members of Godspeed, Fugazi, White Magic and Dirty Three to perform the live score to Cohen’s film We Have An Anchor in various locations at Europe and the USA. Most recently she’s been collaborating and performing with the band Laniakea, featuring Daniel O’Sullivan (Ulver, Grumbling Fur, Æthenor, This Is Not This Heat) and Massimo Pupillo (Zu).

May 2017 heralds Jessica Moss’ first official full-length solo release. Comprised of two side-length multi-movement compositions, Pools Of Light is a stunning work that unfolds at a stately, inexorable pace, combining sound-art and signal-processed timbres, extended melodic and contrapuntal lines, and the periodic deployment of stark, minimalist vocals. Recorded with kindred spirit Radwan Ghazi Moumneh and released on the only label home she knows, Jessica says she “is feeling fucking grateful to be doing what I’m doing right now” and hopes to see you on the road.

Spectacles à venir

  • Aucun spectacle.
jessicamoss.bandcamp.com

Jimmy Hunt

Jimmy Hunt
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Jimmy Hunt

Homme au nom magnifique, bluesman autant que subterranean, Jimmy Hunt habite les nuits montréalaises dès 2000, rôdant seul, habillé de sa guitare, sa batterie-valise et son harmonica. Il se fait connaître avec Chocolat, groupe dont il est la tête pensante. Après un premier EP salué à l’unanimité par la critique, le groupe signe avec la maison de disque Grosse Boîte et revient au printemps 2008 avec Piano élégant. Encensé, l’album est mis en nomination au Gala de l’ADISQ dans la catégorie Album de l’année —

Alternatif puis remporte les honneurs au GAMIQ dans la catégorie Album rock de l’année.

À l’automne de la même année, Jimmy Hunt harmonise sa voir à celle de Cœur de pirate le temps d’une chanson, Pour un infidèle. Le duo enchante et s’en suit une série de concerts en solo aux côtés de la blonde prodige. Puis, de longs mois durant, l’écriture et la composition monopolisent les jours et les nuits du « rockeur » devenu chanteur. En octobre 2010 paraît son premier album solo éponyme.

Douce, coulante, sucrée autant qu’amère et chaude, la nouvelle mixture, toujours liée par cette voix suave et nonchalante, plaît autant au public qu’aux critiques. Parmi les Révélations Radio-Canada 2011-2012, Jimmy Hunt est sur toutes les lèvres et sera sur toutes les scènes — aux Nocturnes du Musée d’art contemporain de Montréal, aux FrancoFolies de Montréal, au Festival d’été de Québec, aux Francofolies de Spa, au FME, à M pour Montréal, au Festival du voyageur de Winnipeg.

Alors que vient de paraître en vinyle l’inédite Vie normale, l’auteur-compositeur- interprète se voit doublement nommé au Gala de l’ADISQ, dans les catégories Album de l’année — Folk contemporain et Révélation de l’année, puis couvert de « cochons dorés » au GAMIQ, où il s’illustre dans les catégories Auteur-compositeur de l’année, Album Chanson de l’année et Vidéoclip de l’année— tirelire plaquée qu’il partage avec le réalisateur de Motocross, Yan Giroux.

Jimmy Hunt nous revient à l’automne 2013 avec Maladie d’amour sur lequel se retrouve le côté folk qui a fait la grâce du premier album, mais qui oppose aussi des envolées électro touffues à des textes minimalistes. Ces explorations sonores sont aussi le fruit de la collaboration avec le claviériste et programmeur de choses électroniques Christophe Lamarche-Ledoux (Organ Mood) et le multi-instrumentiste Emmanuel Éthier (Passwords). Le premier a assuré la prise de son et les arrangements de certaines pièces, le deuxième la réalisation et tous deux ont joué sur l’album.

2014 a été une année faste pour Jimmy Hunt et sa Maladie d’amour. Hautement récompensé (Choix de la Critique et Album alternatif de l’année – ADISQ 2014, Album folk de l’année – GAMIQ 2014, Auteur-compositeur de l’année – GAMIQ 2014 et Meilleur album francophone au Juno Awards 2015) et fortement remarqué dans plusieurs festivals (Montréal en lumière, Francofolies de Montréal, Festival d’été de Québec, Canadian Music Week, Toronto, Festival de musique émergente, Rouyn-Noranda), Jimmy Hunt consolide sa notoriété et son style.

Il s’impose parmi les visages marquants de la nouvelle génération. Et tandis que ses chansons peuplent les ondes et que ses mots s’accrochent aux tympans de toute la province, l’auteur-compositeur-interprète nourrit des envies d’ailleurs.

Agent – Michaël Bardier

Spectacles à venir

  • Aucun spectacle.
jimmyhunt.ca

KNLO

KNLO
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KNLO

KNLO, alias Akena Okoko alias KenLo Craqnuques, est un rappeur et compositeur originaire de la vieille capitale, via St-Narcisse et le Congo. On a pu l’entendre au cœur de plusieurs collectifs dont Movezerbe, K6A, Alaclair Ensemble, ainsi qu’une quinzaine de projets instrumentaux. Il est l’une des figures les plus influentes de la scène hip-hop québécoise. Navigant entre les époques au niveau des beats, KNLO livrait en 2017 l’opus Long Jeu, son premier album rap solo. KNLO se retrouve alors nommé dans deux catégories à l’ADISQ 2017 soit Album Hip-Hop de l’année et Révélation de l’année. Il récolte également 2 nominations dans le cadre des GAMIQ, dont meilleur album Hip- Hop de l’année et Vidéoclip de l’année pour Justeçayinque. Trois ans après la sortie de ce dernier, KNLO lancera le 7 juin prochain Sainte-Foy, qu’il déclare être son « meilleur album à vie ». Un disque sur lequel l’artiste met un pied dans la grouillade, sans mettre de côté la profondeur du récit afrobascanadien. Avec son complice de longue date VLooper (enregistrement, composition et co-réalisation), il tangue habilement entre la motivation, le besoin de se ressourcer et la célébration d’un amour bien conservé.

Agent – Michaël Bardier

Spectacles à venir

  • 11/15/2019 @ Le D'Auteuil, Québec, QC
  • 11/16/2019 @ Ausgang Plaza, Montréal, QC

Les Filles de Illighadad

Les Filles de Illighadad
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Les Filles de Illighadad

Fatou Seidi Ghali, lead vocalist and performer of Les Filles is one of the only Tuareg female guitarists in Niger. Sneaking away with her older brother’s guitar, she taught herself to play.While Fatou’s role as the first female Tuareg guitarist is groundbreaking, it is just as interesting for her musical direction. In a place where gender norms have created two divergent musics, Fatou and Les Filles are reasserting the role of tende in Tuareg guitar. In lieu of the djembe or the drum kit, so popular in contemporary Tuareg rock bands, Les Filles de Illighadad incorporate the traditional drum and the pounding calabash, half buried in water. The forgotten inspiration of Tuareg guitar, they are reclaiming its importance in the genre and reclaiming the music of tende.

In the past years, certain genres of Tuareg music have become popular in the West. International acts of “desert blues” like Tinariwen, Bombino, and Mdou Moctar are synonymous with the name “Tuareg.” But guitar music is a recent creation. In the 1970s young Tuareg men living in exile in Libya and Algeria discovered the guitar. Lacking any female vocalists to perform tende, they began to play the guitar to mimic this sound, replacing water drums with plastic jerrycans and substituting a guitar drone for the vocal call and response.

Liens de presse

Le Guess Who? Festival – live
Les Inrocks – interview
The Guardian – interview
NTS – profile

Agent – Michaël Bardier
Territoire – Canada

Spectacles à venir

  • Aucun spectacle.
sahelsounds.com

Marie Davidson

Marie Davidson
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Marie Davidson

Marie Davidson’s music dives deep into her internal psyche. Her new album draws on the influence of her assorted musical heroes, an array of important thinkers, and her recent experiences as an artist. On Working Class Woman, she takes the same building blocks as before but knocks them together into something bolder. Crafting a more timeless sound than she’s done previously, it’s the logical next step for a career built on a far-reaching worldview.

Davidson’s relationship to music started with the violin. She was raised in Montreal, the city where she still resides now, and her parents nudged her toward learning an instrument. Her request to learn the piano was rebuffed. The violin was a cheaper option, and one which she would be able to transport between her separated parents’ houses. She had classical training for several years and played in orchestras while she was at high school.

In the meantime, she hungrily consumed the music which she heard around her. That meant Nirvana, hip-hop and R&B: the sounds which were taking root in the ‘90s. By the time she was 19, she had picked up the guitar and was starting to play in bands around Montreal, as well as incorporating those contemporary influences into her own music. She started playing synths, and returned to the violin too, finding inventive ways to record and process the sounds it produced.

She spent a brief period at college studying drama with aspirations of acting, but soon dropped out in favour of focusing on music. She found herself in the city’s then-flourishing DIY scene, going to places like La Brique, a warehouse space where bands could hang out and experiment. She looks back on that time as her training: the preparation for making her own music, where she found her voice and made important connections.

That included her now-husband Pierre Guerineau, with whom she now records with as Essaie Pas, releasing two albums together thus far for DFA, the latest aptly described by the Guardian as « cyberpunk coldwave”. She also started working with Xarah Dion as Les Momies De Palerme. They recorded an ambient-influenced record, « Brûlez Ce Coeur », which was released on iconic Montreal label Constellation (also home to Godspeed! You Black Emperor) in 2012.

David Kristian was another collaborator in that period. A longtime fixture of the city’s music community, Kristian guided her to explore production and encouraged her to start making her own music. He and Davidson inaugurated their DKMD moniker, where Davidson fronted the vocals for 2012’s synth disco-styled « On The Other Side » EP. (They later reunited, too, for a horror-tinged Italo record in 2015.) Crucially, though, Kristian introduced her to using sequencers, which have since become a vital part of Davidson’s approach.

It was the catalyst which led to her self-titled debut EP in 2012 and debut album « Perte D’Identité » in 2014. Those first releases spoke to many of the interests which still occupy her now: textured atmospheres, spoken text – rather than spoken word, which she sees as a distinct tradition – and a melange of influences which includes Italo disco, proto-industrial and electro. Nodding to forebears which span from Chris & Cosey to Harold Budd, those first tracks were poised between propulsive, looped sequences and bursts of unguarded exploration. On « Un Autre Voyage » in 2015, she took that same approach and expanded its scope. The album found space for a wide span of sounds, encompassing both gristly arpeggios and lush balearic washes.

She also started to bring together the live set which she still tours now. It sees her play on her own, marshalling a table of gear which includes sequencers, synths and a mic for her to sing and talk into. It allows her to improvise and play each set in a different way to the last. There’s a fiery, direct energy to her shows, which has picked up more momentum the longer she’s spent playing with that set-up.

It was with 2016’s « Adieux Au Dancefloor » where the foundations that Davidson had laid down started to grow into something bigger. She released it with the Cititrax label affiliated to Minimal Wave, the latter having carved out an important role in discovering lesser-heard music from the cold wave and synth pop era. It was punchier and more dancefloor-oriented than previous releases and drew praise from the likes of Pitchfork (“Davidson presents a project that indicates exciting and near-exponential growth in her ability as a writer and producer”), The Fader and Resident Advisor.

Her new album « Working Class Woman », set for release on Ninja Tune, continues in the dancefloor-minded trajectory charted by Adieux Au Dancefloor. The album’s heavier moments – of which there are many – deliver a gut-punching weight, combined with her characteristically-deployed spoken text. Sometime the text is a peak into her thoughts and state of mind; at other times, she employs a bleak humour, directed both at aspects of club culture and in more oblique critiques of the modern world.

The album’s early moments include lead single ‘So Right’: matching pared back lyrics with a melodic bassline and bright synths, her words sketching out a euphoric feeling that chimes with the music. It all aligns together to create a warm glow, backed by a John Talabot remix, where he slows down the momentum, creating a mellow pace guided a languorous bassline. In ‘Work It’, she probes her workaholic nature. In her opening spoken line, she declares, “You wanna know how I get away with everything? I work, all the fucking time.” The track is, appropriately, unrelenting: it’s a robotic, jacking groove that’s short but sweet. ‘The Psychologist’ – which also alludes to a course she’s currently studying in psychology – is carried by a moody techno swagger that suggests a playfulness evident throughout the record. On ‘Day Dreaming’, soft chimes provide a moment of colourful respite, swirled around with a soft-focus ambience. In contrast, ‘The Tunnel’ is an ominous deep-dive into industrial sound-blasts, focused around Davidson’s dark narration. And in ‘Burn Me’, she takes a turn at a more straightforward club rhythm, building up drones, an acid bassline and flashes of percussion into a tense slow-burn.

Davidson sees the album as an honest document of her state of mind. As she puts it, “It’s an egotistical album – and I’m okay with that.” It’s in part a reflection of the past year, where she spent part of her time living in Berlin and a lot of time on tour – an experience which can be enriching, but draining in the persona which you’re expected to project for people.

That same interest is reflected in the thinkers and writers – like psychologist Alice Miller, physician Gabor Maté or filmmaker Alejandro Jodorowsky (in particular, his book Psychomagic) – which have fed into her creative process. She was drawn to ideas about psychology and the self, filtering her own reflections through the theories and stories which she’s encountered. It’s an account of an artist taking ever bigger strides in turning those expansive ideas into her own characteristic medium.

Agent – Michaël Bardier

 

Spectacles à venir

  • Aucun spectacle.
facebook.com

The Mauskovic Dance Band

The Mauskovic Dance Band
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The Mauskovic Dance Band

The Mauskovic Dance Band are fusing no-wave dance punk, Afro-Caribbean rhythms and space disco in a “controlled explosion” (The Quietus).

Since the release of their “Down In The Basement” EP on Soundway Records in early 2018, the band have found themselves on a hectic touring schedule – not to mention being involved in other side projects. Following stints with Turkish psychedelic folk rock group Altin Gün, and touring with the re-formed 70s Zamrock outfit W.I.T.C.H., Nic Mauskovic also teamed up with Dutch neo-psychedelic artist Jacco Gardner to form the “cinematic Balearic disco” duo of Bruxas (released by Dutch institution Dekmantel). 

Liens de presse

The Quietus – Live Review
NME – interview

Agent – Michaël Bardier
Territoire – Amérique du Nord

Spectacles à venir

  • 10/29/2019 @ Headrow House, Leeds, UK
  • 10/30/2019 @ Audio, Glasgow, UK
  • 11/03/2019 @ Worm Disco Club @ Fiddlers, Bristol, UK
  • 11/05/2019 @ Bongo Joe Party @ L'Usine, Geneva, CH
  • 11/06/2019 @ Kaserne, Basel, CH
  • 11/07/2019 @ Le Centrifugeuse, Pau, FR
  • 11/08/2019 @ Le Rockstore, Montpellier, FR
  • 11/09/2019 @ Atabal, Biarritz, FR
  • 11/10/2019 @ Le Cargo, Caen, FR
  • 11/12/2019 @ Circolo Ohibò, Milan, IT
  • 11/14/2019 @ Caracol, Pisa, IT
  • 11/15/2019 @ Rome Psych Fest @ Monk, Rome, IT
  • 11/16/2019 @ Covo, Bologna, IT
  • 11/19/2019 @ ISC, Bern, CH
  • 11/20/2019 @ Bumann & Sohn, Cologne, DE
  • 11/21/2019 @ N9, Eeklo, BE
  • 11/22/2019 @ Doornroosje, Nijmegen, NL
  • 11/23/2019 @ Het Dept, Leuven, BE
  • 11/25/2019 @ Urban Spree, Berlin, DE
  • 11/26/2019 @ Tape, Aarhus, DK
  • 11/27/2019 @ Huset Kbh, Copenhagen, DK
  • 11/29/2019 @ Bird, Rotterdam, NL
  • 11/30/2019 @ Paradiso @ Skatecafe, Amsterdam, NL
  • 02/22/2020 @ Music Frozen Dance Festival, Chicago, IL
  • 03/13/2020 @ Kings, Raleigh, NC
  • 03/23/2020 @ Sister Bar, Albuquerque, NM
  • 03/24/2020 @ Hi-Dive, Denver, CO
  • 03/25/2020 @ Metro, Salt Lake City, UT
  • 03/28/2020 @ Fox Cabaret, Vancouver, BC
  • 03/31/2020 @ Mississippi Studios, Portland, OR
  • 04/02/2020 @ Rickshaw Stop, San Francisco, CA
mauskovicdanceband.bandcamp.com

Mdou Moctar

Mdou Moctar
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Mdou Moctar

In the crowded scene of Tuareg guitarists, Mdou Moctar stands apart from his peers. Playing in the repertoire of desert guitar popularized by groups like Tinariwen and Bombino, Mdou is pushing the boundaries of the genre with a unique personal sound. With versatile compositions and genre defying albums, Mdou’s music has been an underground success with an international following, set on redefining the sound of the desert.

Mdou Moctar hails from a small village in the Azawagh desert of Niger, a remote region steeped in religious tradition. As a child, he taught himself to play the a homemade guitars, cobbled together out of planks of wood. It was years later before he found a “real” guitar, teaching himself in secret. In an area where guitar music was all but prohibited, he quickly rose to the status of local celebrity amongst the village youth.

In 2008 he traveled to Nigeria to record his first album “Anar.” A psychedelic reworking of the Tuareg sound, the electronic tracks featured innovative pitch bending synths, drum machines, and autotune. In 2010, he teamed up with the label and collective Sahel Sounds, releasing his first international album, “Afelan.” In 2015, he co-wrote and starred in the first ever Tuareg language film, “Rain the Color Blue with a Little Red In It,” a Saharan remake of Prince’s “Purple Rain.” In 2017, he again shifted gears to another sound with “Sousoume Tamachek,” a mellow blissed out recording evoking the calm desert soundscape, tackling religion, spirituality, and matters of the heart.

In the past years, Tuareg rock music has gotten faster. There is a preference for this new style, both in the raucous weddings of Agadez and in Berlin rock clubs. The wavering guitar solos, rapid fire drums and heavy distortion has become characteristic of the contemporary sound. Mdou takes on this challenge, but with an ear towards tradition. Rooted in traditional, with borrowed polyrhythms of traditional « takamba » and lyrics sung in the style of old nomadic poets, his guitar playing is wild and unrelenting, equal parts nomadic bard and Eddie Van Halen. Mdou Moctar and his band have toured Europe and North America, playing sold out shows from small DIY rock clubs in Portland to New York City’s Lincoln Center. His music has been featured in the BBC, The Guardian, Pitchfork, New Yorker, L.A. Weekly, NPR, Rolling Stone, Les Inrocks, and his film continues to be screened at film festivals around the world. From underground star of Niger to international film star, Mdou Moctar has undoubtedly one of the quickest rises to success.

Liens de presse

Spectacles à venir

  • Aucun spectacle.
sahelsounds.com

Nadah El Shazly

Nadah El Shazly
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Nadah El Shazly

Nadah El Shazly is a singer and composer living and working in Cairo. She released her critically acclaimed debut album AHWAR in Nov 2017 via Nawa Recordings. Backing up her release with extensive worldwide touring through a solo set and a four-piece band, El Shazly has been featured in local and international festivals including Le Guess Who?, REWIRE, Best Kept Secret, Supersonic and many more. She continues to compose for film and visual art.

Two years in the making, Ahwar was composed, written and produced by El Shazly herself in collaboration with Maurice Louca and Sam Shalabi on co-composition and arrangement duties. The album was crafted across two continents, between Canada and Egypt, and features the best of Montreal’s contemporary-classical and improvised music scene, most of whom are members of Shalabi’s Land of Kush.

Spectacles à venir

  • 04/01/2020 @ Mission Creek Festival, Iowa City, IA
  • 04/09/2020 @ Doug Fir Lounge, Portland, OR
  • 04/11/2020 @ Western Front, Vancouver, BC
facebook.com

Negative Gemini

Negative Gemini
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Negative Gemini

Negative Gemini (Lindsey French) is an American songwriter, singer, and producer.

After moving to Brooklyn in 2014, the Virginia-native released her self-produced debut album Body Work, for her own record label (100% Electronica) earning early comparisons to the likes of Hope Sandoval and Gwen Stefani. With its unique blend of underground dance beats and pop hooks, Body Work quickly found itself the darling of many music publications, garnering critical acclaim from prominent media publications like MTVnew, Resident Advisor, and The Fader. Already established as a strong female presence in the New York electronic music scene, Negative Gemini’s new EP Bad Baby seeks to write timeless and memorable music on the fringe of pop. Written over the course of the last two years, Bad Baby chronicles the ups, and downs in French’s recent life.

Her 2017 single « You Weren’t There Anymore » topped the charts of music blog aggregator Hype Machine and was praised by Pitchfork and SPIN among other major publications and was quickly followed by her second single ‘Bad Baby’ which won a spot on Spotify’s Undercurrents playlist.

Agent – Ouss Laghzaoui

Spectacles à venir

  • 10/22/2019 @ Commonwealth Bar, Calgary, AB
  • 10/25/2019 @ Rickshaw Theatre, Vancouver, BC
  • 10/27/2019 @ Wonder Ballroom, Portland, OR
  • 10/29/2019 @ Holy Diver, Sacramento, CA
  • 10/30/2019 @ Regency Ballroom, San Francisco,CA
  • 11/01/2019 @ Belly Up Tavern, Salona Beach, CA
  • 11/03/2019 @ Rialto Theatre, Tucson, AZ
  • 11/05/2019 @ Rialto Theatre, Tucson, AZ
  • 11/06/2019 @ Mohawk, Austin, TX
  • 11/07/2019 @ Paper Tiger, San Antonio, TX
  • 11/08/2019 @ Satellite, Houston, TX
  • 11/09/2019 @ Republic Nola, New Orleans, LA
  • 11/10/2019 @ The Wilbury, Tallahassee, FL
  • 11/12/2019 @ High Dive, Gainesville, FL
  • 11/13/2019 @ The Social, Orlando, FL
  • 11/14/2019 @ Orpheum, Tampa, FL
  • 11/15/2019 @ Adult Swim Festival, Los Angeles, CA
negativegemini.com

Operator Music Band

Operator Music Band
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Operator Music Band

Pop experimentalism and electronic minimalism. New York’s Operator Music Band is a blend of the comforting analogue old and the kinetic digital new. Warbling synthesizers and waves of feedback noise wander over steady motorik beats, bringing krautrock into an exciting third wave of synthetic bliss. What ultimately defines their sound is an aesthetic and tonal malleability, willing to appear both serious and silly. At the center of Operator Music Band is the complex symbiosis between Dara Hirsch and Jared Hiller. Hirsch, a producer and engineer by trade brings a cerebral intensity to her virtuosic guitar playing and vulnerable vocal delivery, while Hiller is all flash and noise, partly through his own analogue effects tinkering (l0/rez). The duo has been recently joined by Alejandro Salazar Dyer (Gemma, Zula) on drums, and Gabe Pittleman on bass. On their upcoming LP, ‘Duo Duo’, the band expands on the vocabulary established in their previous releases, adding layers of textural and melodic complexity to their already familiar strobing funk-punk arrangements. Produced by Henry Terepka (Zula), and mixed by Jonathan Schenke (Parquet Courts, Snail Mail, Bodega) this new batch of songs shows Operator Music Band is willing to explore an ever-expanding palette through collaboration and experimentation. ‘Duo Duo’ is set for release on September 20th, 2019, via Broken Circles.

Spectacles à venir

  • 11/21/2019 @ Elsewhere (Zone 1), Brooklyn, NY
open.spotify.com

Organ Mood

Organ Mood
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Organ Mood

Organ Mood est un collectif d’artistes visuels et sonores de Montréal, ses membres sont Christophe Lamarche et Mathieu Jacques. Depuis 2008, nous essayons de transformer la notion d’auditoire, en favorisant une relation plus impliquante avec notre public. Nos outils sont les synthétiseurs analogiques, les rétroprojecteurs, et des instruments de notre cru que nous partageons avec l’auditoire, tous reliés électroniquement.

Nous avons tourné au Québec, avec des artistes pop. Nous avons performé dans différents festivals à Montréal, tels que le MEG et les Escales improbables. Nous avons occupé l’Atrium du Musée d’art Contemporain de Montréal que nous avons changé en un espace psychédélique. Nous avons performé dans une église à Saint-Jean-Port-Joli. Nous avons transformé la cour du centre d’artistes l’Écart de Rouyn-Noranda en mini rave improvisé. Nous avons partagé la scène du très rococo Teatro Fru Fru à Mexico.

Nos performances sont un rituel durant lequel le public peut se joindre à nous, pour découvrir en lui l’énergie pour poursuivre de grands projets.

Spectacles à venir

  • 11/21/2019 @ Grand Théâtre de Québec, Québec
  • 11/28/2019 @ La Petite Boite Noire, Sherbrooke, QC
  • 12/07/2019 @ Club Saw, Ottawa, ON
  • 12/14/2019 @ The Baby G, Toronto, ON
organmood.net

Solids

Solids
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Solids

Si Solids joue fort (très fort), c’est parce que Louis Guillemette (batterie, voix) et Xavier Germain Poitras (guitare, voix) croient dur comme fer qu’un véritable concert rock est une expérience physique qui doit électriser le corps au complet, décupler les pulsions cardiaques et faire bouillir le sang dans les veines. Le duo a très bien compris, à l’instar des groupes des années 90 qui leur ont servi de professeurs, qu’une mélodie ne brille jamais autant que lorsqu’on la contraint à se frayer un chemin à travers de nombreuses couches de distorsion et de larsen. Son premier EP, Generic Dogs, unissait déjà en 2010 les amateurs de refrains cathartiques sous l’enseigne d’un rock intense. Le premier album complet, enregistré par Adrian Popovich(Duchess Says, We Are Wolves, The Dears, etc) au Mountain City Studio, Blame Confusion, compte parmi les parutions les plus attendues de l’automne.

Qu’ils montent sur une des scènes d’événements majeurs comme South by Southwest, le Festival Osheaga, POP Montreal et The Fest (à Gainesville, Floride) ou qu’ils s’entassent dans le sous-sol humide d’un bungalow décati, Xavier et Louis suent sang et sueur, parce qu’à leurs yeux, il n’y pas d’autre manière de faire de la musique. Solids, c’est une offrande pour tous ceux qui ne se sentent jamais autant en vie que lorsqu’on les submerge sous les décibels. Solids, ça fouette le plexus, ça prend au cœur et ça rince les oreilles. Solids pourrait tout aussi bien vous faire dresser le poil sur les bras que vous donner envie de caler en une seule gorgée votre canette de bière bon marché.

Agent – Michaël Bardier

Spectacles à venir

  • 11/22/2019 @ The Garrison, Toronto, ON
  • 12/06/2019 @ L'Anti, Quebec City, QC
  • 12/07/2019 @ La Sala Rossa, Montreal, QC
sssolidsss.com

Suuns

Suuns
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Suuns

You can hear freedom flowing through the 11 tracks on Felt. Self-produced then mixed to audiophile perfection by St Vincent producer John Congleton, it maintains a pleasing economy, the informality of self-production has enabled Suuns to explore bright new vistas – the hypnotic future-pop percolations of X-ALT or Watch You, Watch Me’s organic/synthetic rush of elevatory rhythms and the ecstatic, Harmonia-meets-Game Boy patterns. Never mere fusionists, it’s now pointless trying to decode their sonic signature as ‘dance music that rocks’ or vice versa. Ben Shemie has a newfound vocal range and a penchant for buoyant melodies, showcased in such wholly unexpected delights as the yearning lilt of Make It Real and sax-smoothed Peace And Love, which sincerely comes on like a post-punk Sade. The suitably outré image for Felt – a hand reaching out to touch a giant latex black inflated ball – breaks with Suuns’ earlier darkness for a more optimistic ambience. The record’s playful atmosphere is echoed by its double meaning title.

Spectacles à venir

  • Aucun spectacle.
suuns.net

Video Age

Video Age
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Video Age

On Video Age’s forthcoming album Pop Therapy, out June 15 via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group’s buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy.

Emerging from New Orleans’ DIY scene and label collectives, Farbe and Micarelli were intrigued by each other’s songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli’s talent for crafting simple, tangible melodies complements Farbe’s studio world-building, letting ideas drift until they emerge into impressive arrangements.

The pair’s seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they’re joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen’s The Nightfly). Where Living Alonecatalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.

Spectacles à venir

  • Aucun spectacle.
stereogum.com

Virginia Wing

Virginia Wing
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Virginia Wing

Virginia Wing is the musical collaboration of Alice Merida Richards and Sam Pillay, formed in 2012 and currently based in Manchester. Acutely aware of the misguided perceptions when operating within the paradigm of a male-female electronic duo, their music is a sprawling amalgamation of experimental pop songs with texture, depth and nuance; that’s daring, progressive and forever bold. After two stunning albums, they return with politically charged new album ‘Ecstatic Arrow’ (out now on Fire Records) that reminds us “of the astonishing things you can do with pop music (The Quietus). ‘Ecstatic Arrow’ borrows from the heterogeneous terrain of The Flying Lizard’s ‘Fourth Wall’, the exuberant technology assisted pop of Yellow Magic Orchestra and the playful sophistication of Lizzy Mercier Descloux, arriving at the evergreen intersection of pop music and conceptual art. The voice of Alice Merida Richards is more compelling and expressive than ever. The glacial deadpan of previous records has given way to a more candid, self-possessed delivery, showing an appreciation for the humour and tragedy innate in the downtown Arcadia of Laurie Anderson, Robert Ashley or even Lynn Goldsmith’s Will Powers.

In 2017 Virginia Wing released collaborative self-titled album with Xam Duo, saxophonist Christopher Duffin regularly plays live with the duo and can be heard on the new album. They also covered lost Suzanne Menzel track “I Feel It Starts Again” with Jane Weaver on Fire Records’ curated EP ‘Lost Library’and their Record Store Day EP ‘Rhonda’ (2016) saw them collaborate with Koichi Yamanoha (Grimm Grimm). Headlining tours across the UK and Europe, the group have supported artists as disparate as Metronomy and Jenny Hval and recently toured for the second time with Hookworms (Alice also duets with MJ on ‘Each Time We Pass’ on LP ‘Microshift’). With festival appearances including Glastonbury, Liverpool International Festival of Psychedelia and Rewire, they were recently selected for the 6Music Recommends stage at The Great Escape. This summer they will be playing Sea Change Festival before a run of live dates in October 2018 that sees them play their largest headline show to date at Oslo in Hackney.

Press links

Pitchfork – « The Second Shift » review
The Guardian – Best albums of 2018
The Quietus – « Ecstatic Arrow » review

Agent – Michaël Bardier
Territory: North America

Spectacles à venir

  • Aucun spectacle.
virginiawingmusic.bandcamp.com

Xeno & Oaklander

Xeno & Oaklander
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Xeno & Oaklander

Xeno & Oaklander are a minimal electronics duo (Liz Wendelbo and Sean McBride of Martial Canterel) based in Brooklyn, New York. As artists, they have been deeply involved in the analog synth community since 2004 (the release of their debut Vigils LP on Xanten), and have helped promote and inspire the revival of synth wave in the US and throughout the world through their extensive touring and prolific output.

Following their debut on Xanten, they released the Sentinelle and Sets & Lights albums on Wierd before signing on to Ghostly, where they unveiled their widely acclaimed albums Par Avion and Topiary, introducing their innovative mastery of analog synth production to a wider audience.  During the Ghostly album sessions, the duo also recorded Movements and Movements 2 commissioned by the National Center for the Arts, Grenoble, and Ecole du Magasin: an inspirational 35 minute piece recorded live and inspired by travel in space and time. 2017 saw their most recent effort, the Moonlightsingle on Ghostly, originally released as a split single with Chris und Tina by Electronic Sound Magazine UK.

Xeno & Oaklander record their songs and film scores in their Brooklyn studio and are known for their commitment to recording on and performing on analogue synthesizers exclusively. They perform both at art institutions and music venues worldwide, and have performed at SF Moma, PS1 Warm Up, Miami Art Basel, Kunsthalle Zürich & the New Museum NY with sold out shows at Echoplex LA, Elsewhere NY & El Club Detroit.

Sean McBride has created original music for artists Dara Birnbaum, Lucy McKenzie & Richard Kern, Jonah Freeman, and as Xeno & Oaklander for artist Fabian Marti. Their latest remixes are for British legend John Foxx and the Maths & LA band Froth.

Xeno & Oaklander’s sixth album will be released on Dais Records in the spring of 2019.

Press Links

Pitchfork – Watch Xeno & Oaklander’s New Video for “Palms”
NPR – ‘Marble’, video premiere

NY Times – ‘The Staircase’, music video premiere

Agent – Roxanne Lemieux

Spectacles à venir

  • 11/01/2019 @ Substance, Los Angeles Theatre, Los Angeles, CA
xenoandoaklander.com