MUTEK - free show friday may 30th


FRIDAY MAY 30th, 2003

at STUDIO 2109 boul st-laurent

5pm -free entry

Pierre Crube

MUTEK 2003
4th Edition - Montréal, Canada
May 28 to June 1st

the detailed program is available online at
click on ’festival’ then ’program’



square up your squirrel


Raf Katigbak interviews David Kristian


Interview of [sic] by David Kristian


DK: Why do squirrels feature so prominently in your personal mythology?

[sic]: I’m partial to all creatures that are small and strong.
I love the way squirrels move; they’re so unpredictable and can eat while hanging off trees upside down. When I’m feeling dejected, I instantaneously come alive when I see a squirrel.
They’re cute, ferocious, amusing, and whip smart.

If I were an animal I’m sure I’d be some kind of
Rodent that one would want to get rid of, so I can relate to them.

It would be my dream to live in the woods and run a squirrel rehab center. People beat them up you know! Squirrels are so clever that they themselves spread rumors that they are riddled with disease so that nasty ass humans will leave them alone.

I have a link list that I’ll post on my site soon. People should learn more about them. Never feed a salty nut to a squirrel, you are fucking with their nervous system and then blaming them for attacking small children!

DK: As a general rule, it’s better to keep away from squirrels, as they are known to carry disease and have very sharp teeth; who can really tell where a squirrel has been before you offer it a salt-free snack - it may have just been fed beer nuts by some well meaning yet unaware simpleton.

Getting back to the music bit - your music seems to incorporate
aspects of IDM, noise, and movie soundtrack structuring.
What inspires you to compose, and what do you base your song structures on?

[sic]: I just sit down and write a song.
The structure is just whatever comes out. I record 99% of my tracks live.
If I don’t shed tears about how horrible it is; I possibly will release it.
Films inspire me to compose. A barrage of images, lighting, editing, and sound.

DK: The artwork on your CD (...and rabbits named Friday) cover is quite phenomenal, who is responsible for it, and are in you involved in any other projects with this artist?

[sic]: His name is Luca Tripaldi.
He’s an all around talent. There’s nothing he can’t do.
I just told him exactly what I wanted on the cover and he drew it. I laid it out and voila.

We’ll be working together eternally. Last April we had an art exhibit/album release. Luca painted one bunny painting for each song ’...And Rabbits Named Friday’ and vice versa. I’ll have photos of his paintings on my site soon (I promise)

His imagery is in tune with my music and I’ll always embrace that.
Even though I am a painter, I see no real use to paint as long as Luca is
willing to work with me.

We’ve been talking about many projects for the future
and I hope to involve him in video/filmmaking as well.

I contributed photographs for his book of short stories (to be released)
and sound for a performance he did that involved text projected on the wall and the sound of his bathtub.

DK: What is your take on the current state of live performance?
Do you think many electronic music artists use laptops because it’s the only way they can "compete" with DJs in terms of live flow (meaning that if they were to use hardware instruments, they would have to take pauses in between songs to make adjustments)?

About the laptop thing, it’s just another handy way to do things I suppose. How else can one get across the border and play in another country without dealing with all the paperwork? It’s plug and play. Laptop use is not for me because I don’t use computers to compose.
Producing is a whole different ballgame from deejaying.
I like flow, but favor short and sweet with mood swings. I really love hearing people make mistakes when they play live, it’s engaging.
Live sets should not be perfect, sometimes i feel that laptop sets lack
that element of human error.

Unless it’s Guitar Wolf jumping around on stage or there are interesting visuals involved, I honestly don’t really feel all that entertained when i go see live shows. Laptop or not. I’m short and i can never see over the crowd.

Some shows I LOVED recently were Da Bloody Gashes with
the Black Hand, Acid mother’s Temple, Knurl, Hanged up, etc.

DK: Do you think there is too much electronic music out there?

[sic]: As long as I can sift through and find some diamonds in the rough, I don’t care. There is a ton of crap out there period, not just in electronic music. There is too much of everything out there, thats why we are all insane.

DK: When you are alone at home, what do you listen to?

[sic]: More often than not...the sounds of my 100 year old apartment.
I also listen to a lot of country (I’m talking Cash, Hazlewood etc), metal,
electronic, motown, noise, punk rock, oh and some classical music. I enjoy strings.

DK: Do you read? If so, who do you read?

[sic]: Fortunately, I do read.
I’m reading textbooks, I do that once in a while.
At the moment it’s ’Abnormal Psychology’ & various others psych & documentary film books.

DK: Would you ever make music for film?

[sic]: I just did and will hopefully continue to do so.
I’d be interested in doing some foley work as well.
Ultimately I’d like to do a full soundtrack for myself or with directors I respect.

DK: Who’s your favorite director?

[sic]: That’s a REALLY hard one, I have WAY too many favorites.
If I had to choose one it would be David Lynch. He’s got a knack for setting a tone and is to be able to maintain a sense of humor. The soundtrack work is always great, good ol’ Angelo Badalamenti !

DK: How important are visuals to your live sets, and why are they important?

[sic]: I’d say they make up 60 percent of my live performance.
I started out in the visual arts. I love making films and videos, painting and the like. If I can’t project visuals I won’t play.
I am telling a story when I play live. Visuals help lead the audience in.
And also helps divert people’s eyes toward the screen. I have awful stage fright.

DK: How would you feel if someone sampled your work?

[sic]: People have, I don’t care. At least they asked.

DK: What’s your take on the mp3 issue?
Do you believe they are beneficial to independent artists?

[sic]: I’m not sure they benefit the independent artists, but i do hope that most people who up and download actually purchase CDs as well. I don’t agree with people uploading entire albums before they are released, they are betraying artists.
Normally, independent artists are working hard to release a CD
or paying out of their own pockets, sometimes having a few songs available for people to listen to should benefit sales.

DK: You seem to have a very good sense of humor, have
you ever played a prank on someone, if not, would you ever consider doing so?

[sic]: I’m a total pain in the ass.
I pull pranks all of the time, I’ve recently gone old school
and put whoopee cushions under my couch when friends come to visit.

Sometimes my pranks backfire, like the time my ex brought me to a
fancy-shmancy restaurant for my birthday. It was very romantic.
I thought it would be funny to stick a pea in my nose and then sneeze.
I used to do that as a kid with green M&Ms. It’s just dumb, i was young and dumb.

Unfortunately, the waiter just kept disturbing us and asking if everything was ok. My pea came out at the wrong moment and my ex didn’t think it was very sexy. I responded to his revulsion with ’Yeah SEXY is hauling your drunk 6’5" ass home every night...’

DK: I’m glad that wasn’t me; sounds like a very early sign of demonic possession.

[sic]: Pure hooliganism

DK: hehehhe... Hooliganism!
Why do you choose to live in Montreal?

[sic]: As a Canadian I have few choices, I’d love to live somewhere warm.
I feel fortunate to live in a somewhat peaceful open-minded society.
Montreal has many benefits; I love my friends here, i love the summer and the architecture, but it can feel like a one-horse town with silly laws that make you want to move.

DK: That said, what’s your take on the current hype surrounding Montreal’s electronic music scene and its artists?

[sic]: I know tons of artists who are doing well. I’m very delighted for them. I’m not really part any scene, so I can’t really answer fully.
From my standpoint, the scene here has not changed at all, it’s always been a thriving city. But yes, Montreal is now on the musical map which is helping artists find success on an international level.

DK: I wish you all the best!

[sic]: Thanks, you too!

special note :

DAVID KRISTIAN live set in Montreal
The official launch for Something Wikkid This Way Drums
will take place Thursday April 24th, 2003 at the SAT in Montreal.
The evening will also feature live performances by Black Market and Pivot, and DJ Sets from Capital J and RCola.
In honor of the compilation, David will be presenting a live Drum n’ Bass set - his first since he began exploring the genre in 1995.
for more information about David Kristian, please go to


C!ME CHAMP LIBRE vernissage March 26, 2003 (6pm)


vernissage for C!ME
March 26th, 2003
Place Ville-Marie 1
Montreal, Quebec

On March 26, 2003, CHAMP LIBRE
invites the Montreal public to the entrance
hall of 1, Place Ville Marie, North wing, at 6 pm for a cocktail in order to mark the
opening of the event C!ME. Free entrance from 11 am to 11 pm

Within the 3,500 square meters of Place Ville Marie’s main Hall, CHAMP LIBRE
has invited five Montreal artists to interpret symbolism of the mountain.

Patrick Bérubé,
[sic] alias Jen Morris,
Guylaine Bédard,
Virginie Laganière
César Saëz

will present original installations and videos, reminders of the interactive dynamic
that Mount-Royal plays on the perception and the imaginary of the city.
The C!ME event wishes to recreate the experience of vertigo,
a loss of orientation lived on the mountain.

for more details see:


[sic], alexis o’hara and renann March 8th at le Zest Espaces_Emergents



International Women’s Day:

StudioXX presents Women and Machines, followed by ’Girl Pop’ Showcase

Saturday March 8th, 8pm - Le Zest - $6

Women and Machines - 8pm: [SIC]
Alexis O’Hara
Girl POP Showcase with Renann - 10pm

In recognition of the socio-industrial origins of International Women’s Day, Studio XX presents an evening of women and their machines at the newly constructed production and performance space,

Le Zest, at 4200, Ontario E.

The March 8th event is part of Espaces_Emergents,
a month-long initiative of performances,
indie cinema, workshops and media diffusion to encourage cultural development in Montreal’s East End.

More info:


Le Zest
4200, rue Ontario Est
Montréal, Québec

2 blocks east of pie-IX.

Take the metro to PIE-IX then the 139 bus and stop at ontario or walk from the metro (10 minutes)



Pour la Journée de la femme : Studio XX suivi par Showcases « Girl Pop »
8 mars à 20 h – Zest – 6 $

Studio XX et Showcase Girl Pop mettent l’accent sur la prometteuse relève féminine.
En passant par l’art technologique, la musique et l’art des mots, elles interviennent d’une manière créative et innovatrice.
Un moment privilégié pour prendre le pouls du milieu qu’occupe l’expression artistique féministe à Montréal.
Avec Alexis O’Hara (sons électroniques et spoken word),
et Renann.



Le Zest
4200, rue Ontario Est
Montréal, Québec

Le Zest est situé 2 rues à l’est de Pie-IX.
Autobus 125, rue Ontario - arrêt Pie-IX ou Létourneux.
- ou -
Du Métro Pie-IX,
autobus 139 Sud, arrêt Ontario, ou 10 minutes de marche.
Pour plus de détails

Music from the Mermaid Room


David Kristian’s CD Launch Saturday March 1st, 2003

Music from the Mermaid Room

The official launch for Music from the Mermaid Room will take place Saturday March 1st, 2003. at Blizzarts, 3956A St-Laurent, Montreal (514) 843-4860.
David will be performing a live set of his new electro material, as part of the Chemistry night,
which of course, regularly features talented DJs Mini, Jordan Dare, and Bliss.

The first volume from David Kristian’s Music From the Mermaid Room multi-CD collection will soon be available,
but first, the nice folks at Wikkid Records thought you’d like to to hear a selection from the set,
so they’ve released a compilation featuring not only some of the best tunes from the subsequent CDs,
but also tracks from Micronymph vs Meganymph, and David’s soon to be available follow-up 12",
the Cumberform E.P.

Music From the Mermaid Room, will feature over 100 tracks recorded between 1993 and 2002.
The collection will focus mainly on David’s rhythm-based material.

Also out now are two of David’s classic "Drill n’ Bass" tracks, Graspberries, and Wick Bumbler,
Included on Wikkid Records’ ’Something Wikkid This Way Drums’ compilation,
which showcases material from the likes of Pivot, Black Market, Vizion, Below Two Rooms, and RCola.

IN HEAT Festival for the rights of sex workers -Montreal


The Coaltion for the Rights of Sex Workers in Montréal’s IN HEAT festival runs until February 17th, 2003.


in case you miss this on their site:

Living Monument Project

The Living Monument Project began in September 2002
to create a mural in memory and honour of the up to 68, mostly Indigenous,
sex workers who have been killed or disappeared in Vancouver.

The mural will be three-stories high and located in downtown Montreal (April 2003)

We need artists, volunteers and donations.
To help out, please contact Riel at: or call.
514- 524-8395.

Bundle up!


[sic] live at the FREE RADICAL- Maid in Cyberspace Festival 06


[sic] live at the FREE RADICAL Concert Series
Maid in Cyberspace Festival 06

February 7th, 2003
Fondation Jean-Pierre Perreault, 2022 rue Sherbrooke Est

Festival Details:

February 5th - 8th, 2003
Fondation Jean-Pierre Perreault, 2022 rue Sherbrooke Est

Currently embarking on its 6th season, Maid in Cyberspace/Les HTMllles is an international festival featuring art works exploring the ever-evolving medium of virtual space, as well as hosting symposia, artist talks and theoreticians’ debates on various subjects relating to women’s roles in art and new media. This year’s theme is that of the AGENT LIBRE / RADICAL AGENT, with a strong focus on aspects of Social Activism in art and technology.

With an eye on emerging artists, the Free Radical Concert Series features a range of new music, from actuelle and experimental to orchestral, techno, electro, and technopunk.


Wednesday, February 5th : Electrotext Acoustica

(an evening in Quadrophonic Sound)
Kathy Kennedy
Alexis O`Hara

9:30 pm Thursday, February 6th : Free Electrons

(An evening of improvised electronica)
Magali Babin and I8U
Hyeung Kim (NYC Game Boy Composer)

9:30 pm Friday, February 7th : New Electronic Music

Anna Friz + Annabelle Chvostek (forays into radiophonics and theramins)
Myléna Bergeron

3pm - Saturday, February 8th: Free Radical Radio Camp

Lederhosen Lucil (Free Radical Radio Camp Musical Guest)
Live Broadcast on CKUT 90.3 FM

9:30 pm Saturday, February 8th: Bitbang

Lesbians on Ecstacy
Nanobot Auxillary Ballet
Les Georges Leningrad
Alice and the Serial Numbers + Valerie (K -Project)



Francisco Lopez, Tim Hecker Live in Montreal Jan. 3, 2003


from alien8’s mail out:

Francisco Lopez, Tim Hecker Live in Montreal Jan. 3, 2003
New Release by Francisco Lopez
New Items Availble On-line from the Alien8 Store

* * * * * * * * *


Francisco Lopez will perform live at the Casa del Popolo in honor of
the reissue of his first American release, "Addy en el pais de las frutas y
los chunches". This is perhaps the artist’s strongest recorded document,
a personal favorite of Lopez himself. His performance will be done
using sounds from the release, which are dense brutal environmental
recordings. The soundscapes are so dense and rich that they consume the
listener, from total beauty to absolute fright. This will mark our sixth presentation of a live
performance by the artist and they never seem to tire the listener.
This performance is different from the events presented at the Darling Foundry and the Sala Rossa in that it will be a more intimate in style.

Tim Hecker will also perform a rather rare solo set by recent
standards, although he has been performing out of town as well as with Fly Pan Am.
Expect a powerful set of ambient music that is not afraid to get
incredibly intense at times. This will mark Tim Hecker’s third
appearance with Francisco Lopez.

This show happens on Friday Januar 3, 2003 at the Casa del Popolo, 4873
St-Laurent at 10 pm. Admission is $10.

The capacity of the Casa del Popolo is very limited so advance ticket
purchase suggested. Tickets for this event will be $10 on sale at Casa
del Popolo, Cheap Thrills, Esoterik and l’Obique. Tickets on sale as of
Dec 15.

* * * * * * * * *


We are very pleased to be able to announce the availability of the
artist’s most astonishing recorded work yet! "Addy en el país de las
frutas y los chunches" was originally released in an edition of 500
copies on the ND label in 1997.

This release is most comparable to efforts that centered more on the
environmental aspects of artists work and is somewhat comparable to
releases such as "La Selva" and "Untitled Music for Geography". "Addy…"
was the first American release by Lopez and to this day remains the
artist’s favorite release. The sound world created and captured by
Francisco Lopez on this recording is absolutely incredible, a
beautifully horrifying listening experience. This could very possibly
be one of the most important ambient records of the last 10 years and
truly reinvents the concept of field recordings.

* * * * * * * * *


Latest Merzbow release on Norway’s OHM records. Contains tunes that
Akita played at shows this year as well as a tune influenced by 70’s
German hard rock band Jane and a cover of the Monkeys.

A hybrid of monstrous breakbeats and drum and bass ... a terrorising
wall of sound, a splatter mix of broken drill and noise, tweaked
frequencies, cut-up noises, bizarre funky samples, and straight noise
attacks. It rattles the speakers, shatters the windows, drives your
adrenaline to all-time high and then pins you to the floor with the
thunderous percussion attacks. Each track constantly changes, one
second exploding with speedcore passages, and the next moment tripping over
itself and collapsing into broken, twisted and aggressive techstep.
Rhythmic textures, sonic explorations and ceaseless creativity the
component parts of this accelerated sound are ultra-fast beats,
disjointed samples, distorted shouts of vocal, stabs of synth that
squeal with resonance and the occasional bout of plunderphony. These
components are then stitched together in an almost haphazard manner but
one that you may suspect is more than deliberate.

[sic] is the nom de plume of Montreal producer Jen Morris, who after a
limited-run self-titled EP is set to launch her first full-length album.

...And Rabbits Named Friday (Squirrelgirl) could easily be the
alternative soundtrack to Japanese cyber-punk shock film Tetsuo the
Iron Man. Mechanical rhythms churn under noisy drones and frigid melodies.
Highlights include the dissonant symphony for alarm clocks "puddles"
and the electronic invasion of wind-up toys that is "royk." The sparse,
dark atmospherics and the admitted lack of funk will probably not appeal to
many fans of what’s coming to be known as the Montreal minimal sound, a
fact that suits Morris just fine. One listen to …And Rabbits and it’s
obvious that sound and texture are paramount in all of [sic]’s
compositions. Contrast, dissonance, and tone are reoccurring themes in
every track. Watch out for this one!

This should appear under Guy Marc Hinant’s name. The director of the
label Sub Rosa offers here much more than a compilation album: it is a
strongly assumed, personal look at the history of electronic and noise
music. His approach, a-chronological and atypical, makes a thunderous
statement for anti-compartmentalization. By blending classic tracks,
forgotten gems, and fresh developments from all musical fronts
("serious"/academic music and "popular"), he encourages creative links,
filiations, and in the end discussion. The first five tracks work as an
introduction to the early days, with Luigi Russolo, Walter Ruttman (his
image-less film Wochende from 1930), Pierre Schaeffer, Henri Pousseur,
and Gordon Mumma each representing a decade. After that, the listener
travels between decades and genres. Highlights are numerous and include
such genre-defining classics as Pousseur’s "Scambi" and Edgar Varese’s
"Poeme Electronique," plus a mammoth, previously unreleased 30-minute
piece by Pauline Oliveros and Sonic Youth’s "Audience," a
just-unearthed recording from 1983 in which the musicians turn the microphones
toward the audience and treat this as input (it turns cheers into hysterical
cow moos).

Part two in the Bootleg series with 10 new songs including the
introduction to the cd, (I understand that there is also a 3-cd set
with mp3s also available with a similar title to this cd). Things go deeper,
get darker, and more complex than ever with this disc, with hardcore
rhythms, schooling raps and incredible mix capabilities, the only crime
in this set being the high amount of profanity throughout. This time
out we are at least clued into the different artists in each track and
throughout there is a current of rap taken to a higher plateau, with
added samples, vocals and rhythms to further the cause. One is given
the feeling the money man in the music industry quaking in their boots....

1 | ... | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18


Devin Sarno live

Jen Morris & Michael Egger Pivophone LIVE

Pivophone by Jen Morris & Michael Egger (world premiere)
Thursday, January 17, 2019 at 8 PM
Cinema Bellevaux, Route Aloys-Fauquez 4, 1018 Lausanne Vaud, Suisse

À faire se retourner Edison dans sa tombe, voici en première mondiale le pivophone, dont la performance sera retransmise en direct sur plus de 20 radios publiques européennes, dans le cadre du Art’s Birthday organisé à Lausanne par Espace 2 au Cinema Bellevaux.

Tournant dans la tête de Jen Morris depuis des lustres et réalisée avec Micheal Egger, cette nouvelle machine pourrait s’inscrire comme la cerise sur le gâteau d’une histoire des machines à bruits. Des Intonarumori futuristes aux tubes robotiques des frères Decoster, c’est toute une généalogie glorifiant la virilité agressive, la force, le pouvoir, l’industrie et la guerre que révèle le pivophone. Le pivophone met en doute ce qui jusqu’à son arrivée faisait autorité dans les arts du son. Alors, s’agit-il d’écouter des pives comme John Cage désirait entendre l’âme des cendriers ? Non, mais on se rapproche. Et oui il faut se rapprocher. On est dans l’art de la miniature. Miniature d’un gros show télévisé où les pop stars sont des pives. Miniature d’une scène faite miroir. Miniature d’une patinoire d’Holidays on Ice, où les danseurs-hockeyeuses sont finalement grandeur nature. Alors déjà assité à un ballet de pives majestueuses sous speed ? Déjà écouté le fracas d’une pive contre une autre ?

Jen Morris est une artiste sonore de performances électroniques, radicales et troublantes. De renommée internationale sous le pseudo [sic], Morris communique rarement avec l’espèce humaine. Mais lorsqu’elle le fait, à travers, aussi, la vidéo, l’installation, la bande son de films et son label Squirrelgirl, c’est frontal et désarçonnant. Automatic word wrap

Michael Egger est un artiste vidéo, bricoleur-inventeur, programmeur, musicien et pédagogue.

Et aussi au programme de la soirée:

Thomas Tilly, Abstral Compost, Louis Schild et Antoine Läng, Raphaël Raccuia.

robot vs rabbit live

sleazy listeners related events

Zev Asher tribute events or screenings

Lasse Marhaug shows