For the entire month of July, Slut Island will be the host of Montréal sessions here at CKUT 90.3fm! Every Tuesday starting tomorrow July 5th from 3-5pm Slut Island will provide programming that will be focused from the perspective of those who see themselves as queer, female identifying/gender fluid people. They aim to change the music industry that is typical dominated by cisgendered white males and introduce a safer space for marginalized people that look for an outlet to showcase their talents on.
For the first two weeks on Montréal sessions the emphasis of the show will solely focus on Slut Island’s Festival activities! You can expect to hear more information about the festival which will be taking place at venues all over Montréal such as Casa Del Popolo, Bar le Ritz and 820 Plaza. Along with what you can expect to hear about Slut Island Festival, you can tune in tomorrow July 5th from 3-5pm for a live performance from local pop-punk band Chipped Nails! Keep it locked for tomorrows programming, brought to you by Ethel Eugene and Frankie Teardrop, to hear some wicked tunes and information on what to look forward to at the festival!
After writing a review of the fantastic Suoni Per Il Popolo Festival opening concert featuring the likes of Wadada Leo Smith and Kai Kellough, I was graced with the opportunity to witness a slew of Suoni festival concerts throughout their two week line-up. As usual, Suoni delivered a mind bending take on music. From spoken word to art-punk to free jazz, all things underground seemed to be represented in one way or another. Through and through Montreal was well represented. At the end of the day, the festival is really about this beautiful city we live in so, I thought it would be best to spend some time writing about some of my favorite local acts. Check it out:
Jean Derome and Joane Hétu @ Sala Rossa
Jean Derome has been an important figure in Quebec’s Musique Actuelle scene for 45 years. For this year’s festival, Derome put on a career spanning concert event featuring various ensembles and musicians from different eras in his life. From beginning to end the audience witnessed extraordinary feats as each and every musician tested the capabilities of their selected musical instruments. The set that I remember most fondly was Derome’s first with alto saxophone player and vocalist Joane Hétu. Although Derome has an impressive arsenal of instruments including Alto Saxophone, Baritone Saxophone, Alto Flute, Soprano Flute as well as various extended wind instruments, Hétu still matched Derome’s level of contrast with her outstanding ability to use everything at her disposal. From screeching high notes and intense vocal clicking to airy sax playing, Hétu successfully held her ground when faced with the spectrum of noise of Derome. The set began with textural devices. Puffs of air and rhythmic scratching evolved into huge walls of sound as Hétu and Derome developed extensive motivic ideas side by side. The quick-hitting contrast and shocking sound effects maintained excitement throughout, truly epitomizing the wonder of live improvised music. Continue reading →
The genre of Chelsea Wolfe is a bit hard to put down. In 2015 she released Abyss, an album that epitomized her turn from a darkly tinged folk artist into a full-fledged member of the gothic rock community. Although the music was dark and powerful, her slow tempos and vocal delivery still hearkened back to the days of her more folk-related stylings. The title of this album serves as the best possible description of her music, Wolfe’s beautifully reverberated voice is the only source of light in her black sonic landscape forged by punching distortion and primal drumming. On May 16th at the Fairmount Theatre in Montreal, Wolfe showcased the ability of her music to translate to the live setting. The night was surreal. Wolfe effortlessly combined her creepy, Halloween themed vocal whisperings with the smashing capabilities of her band, switching between unsettling intimacy and apocalyptic destruction constantly. Continue reading →
For a long time Big Band stood as the highest compositional challenge in jazz music. Artists like Duke Ellington, Count Basie, and Thad Jones drove the evolution of jazz from a small scale New Orleans operation to the more grandiose genre of swing. The idea of expanding the size of the ensemble gave the composer a much wider pallet of sound. Lead trumpets played notes louder and higher than ever before while super-sax sections played in perfect unison at blazing tempos. This compositional medium continues today with the likes of Maria Schneider and the Jazz at Lincoln Center Orchestra incorporating more modern tonal structures into the big band idiom. The Orchestre National de Jazz Montréal seeks to continue the long legacy of big band with their interpretation of classic Ellington suites as well as more modern works. On tap for this weekend was an album release show for Montreal’s own Philippe Côté featuring New York sax player David Binney. Côté’s new album Lungta was influenced heavily by Binney who produced the work and has also spent time mentoring Côté. The epic event spanned roughly two and a half hours with Côté’s lavish compositions never letting up, continuously seeking the bigger and grander. Continue reading →
Jam for Justice is a non-profit organization that seeks to support local organizations by showcasing up-and-coming bands in front of eager audiences with all profits going to charity. This Friday, the stage was set for their sold out spring concert with Dans la Rue, a local homeless charity, receiving the fundraising. Every set bled youthful passion as guitar solos and bountiful energy constantly inhabited the stage. The setting was viciously positive with nearly every song from each band generating roaring cheers from the crowd. In general the bands were unpolished and seemed to still be refining their songwriting, however, the platform provided by Jam for Justice was ideal for young musicians to explore their potential. Continue reading →
There have been a lot of issues with Spotify, streaming, and many other aspects of the digital music age lately. Big name artists have become more outspoken about music corporations and their ability to make money off of someone else’s art without paying them back for it and a lot of people seem to be left in a state of “how do I make money?” U2’s response was to forcibly download their album onto every iPhone on the planet, which supposedly proved that they were not in it for the money, but left no one particularly happy. A certain country/pop artist who is not exactly in desperate need of any more publicity had her world famous remarks about Spotify, but in the midst of all this controversy, there’s one particular genre that has truly embraced the mentality that artists do not make music so that “people can pay for it;” hip hop. From Run The Jewels’ crowdfunded, for-charity remix album to Big K.R.I.T.’s insane datpiff collection (a free mixtape downloading website), many a hip hop artist has taken it upon themselves to put their audience and art in front of their chart placement and moneymaking. Perhaps at the forefront of this mentality, is the collective Social Experiment ensemble headed by Donnie Trumpet and the one and only Chance the Rapper. I had a chance to see this group play last week and the amazing results of their live set are rooted in their grassroots, “not in it for the money” mentality. Continue reading →
Pop Montreal is back for their second week here at CKUT on The Montreal Sessions! If you were lucky enough to hear last weeks episode, you would have caught this little gem taking place in our studios. Aside from talented kids singing R. Kelly and spontaneous songs about pooping from Commander Clark, Pop Montreal’s Daniel Seligman brought us an episode with great tunes and informative talks about this years festival. If you liked what you heard, make sure to tune in today from 3-5pm to catch more folks from Pop MTL and a live performance from Heartstreets, who are a local electronic/hip-hop/R&B duo.
You can read more about Pop Montreal on their website, and catch all episodes (if you happen to accidentally miss them) on our archives~~
Today we had Kara-Lis Coverdale in for If You Got Ears; right here at CKUT! Coverdale is a composer, producer and musician, well known for her unique mutli-layered electronic compositions. Coverdale’s music is both jarring and soothing; corrupt mechanical master pieces drawing distinct juxtapositions between the known and the unknown, the human and the machine. Coverdale plans to use her If You Got Ears residency to demonstrate the innovative and boundary pushing aspects of her unique approach to electronic composition.
Tune in next Tuesday from 12-2pm, to catch more of her sounds~~
Do you like magic? Do you like perms? If you answered yes to either or none then tune in today from 3-5pm for a very special episode of New Shit with a live performance and interview with MagicPerm! MagicPerm are a Montreal based synth pop trio, whose brand new album you can listen to on their bandcamp.
We’re super excited to hear what they have in store for us, so listen up for some new music from them and some fresh tunes selected by todays host, Pablo ~~
Montreal-based art collective and label Kohlenstoff ended its residency at CKUT this week.
The label, which has already released 20 records, seeks to increase the visibility of local composers who produce, but don’t limit themselves to electro, noise, ambient and musique actuelle.
Every Wednesday for the past month, If you Got Ears saw a variety of hosts play music from Kohlenstoff’s catalogue, and welcome live performances from the collective’s artists, such as Dominc Thibault, Political Ritual, Hazzy Montage Mystique, and JF Bleu Ensemble..
Next month, If you got Ears welcomes interdisciplinary composer Kara-lis Coverdale. Coverdale performed at MUTEK this past May, where her immersive and digital installation garnered the public’s attention. When she is not exploring post-sacred sounds and musique concrete, she is an organist and music director at St. John’s Church, in Montreal.