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ckutmusic on 05/24/2013 at 12:00AM
After a couple years weaving their magical and haunting sounds through Montreal's underground, Les Momies de Palerme went on hiatus. Needless to say, we were thrilled when the duo agreed to reunite and join us in the CKUT studios and play some music during If You Got Ears. Surrounded by an array of synths, effects, cables, and mixers, the pair conjured some seriously dreamy audio during their live performance. The stunning audio and the fleeting reunion made a truely special set.
ckutmusic on 03/28/2013 at 09:30AM
In the decade that he has called Montreal home, Nick Kuepfer has ventured through a wide range of sonic territory: from playing with infamous noise rockers AIDS Wolf to layering minimal guitar compositions with ambient drones, his contributions to the city's musical community are stunning in both their quality and diversity of sound. Keeping with his tradition of collaging unlikely sonic textures, Nick's live performance during the Constellation Records-curated Montreal Sessions found him alternately plucking and bowing an acoustic guitar over unearthly tape loops. At once rich and subtle, this piece will reward those who listen closely.
ckutmusic on 03/18/2013 at 01:30AM
Just days before the release of their long-awaited debut album, two members of the global drifter trio Jerusalem In My Heart met in the CKUT studios for a rare live performance and interview sent out onto the airwaves. Radwan Ghazi Moumneh is known around these parts for his work at the famed Hotel2Tango as well as for his long history as a performer in the Montreal and Beirut musical communities, and Jérémie Regnier is a composer and producer who'd flown in from his home in France less than 24 hours before this CKUT session. The sheer geographical distance between the members of JIMH mean that any live performances are a rarity, and we were thrilled when the folks at Constellation Records were able to get them in as part of their Montreal Sessions residency.
Combining traditional and contemporary Arabic sounds with electronics, drones, and some improvised live tape echo, Radwan and Jérémie brought forth some truly captivating sounds during their performance. Dual vocals, buzuk, synths, and an array of gadgets ebbed and flowed in the reinterpretations of two tracks from their forthcoming record Mo7it Al-Mo7it.
ckutmusic on 02/12/2013 at 07:15AM
The ring and decay of the bell calls to order, marking the onset on an aural peregrination. Space and place shift in this captivating live performance from CKUT alum Aaron Rosenblum at the now sadly defunct Williamsburg, Brooklyn venue Zebulon.
ckutmusic on 02/01/2013 at 07:00PM
On a very cold January afternoon, CKUT welcomed Montreal's own Babi Audi in the studio to record a live session. There she wove us a sonic tapestry of echoed vocals layered over chopped & screwed samples from some of her fave DJs. One half of the performance art-driven duo Institutional Prostitution, Melissa Gagne has been working solo under the moniker Babi Audi for the past year or two and she's been getting lots of attention from the city's curious ears as of late -- and for good reason.
ckutmusic on 01/15/2013 at 12:10AM
When Julie arrived in Montréal a while back, she found herself without mates to make music with, so she decided to go it alone, hence began her solo project Echo Beach. One of Echo Beach's tag lines reads: better living through gloom, her music does carry a significant density of the layers of effected drone and grain which are lightened through melodic lines of keyboard, and the occasional hushed glacial vocal delivery - mid way between spoken and sang that seemingly come at you from the recesses of a haunted room.
Julie Matson is no stranger to making music, having played in a bunch of Vancouver bands: All The Days, The Mach IIIs, The Maneaters, and been involved in some radical music event organizing as a member of Vancouver's Party Army who declare themselves to be "professional soldiers defending fun for the citizens of Vancouver, not to be confused with amateur frat-house hooligans" The party army did/does things like set up a PA in a lesser known part of a park or some random urban wild space, and then bring the noise for a concentrated period of time, before packing it all up and fleeing the scene before the authority has time to intervene.
ckutmusic on 01/14/2013 at 11:30AM
Back in December, CKUT was lucky enough to have NYC noise-jazz punks Zs join us in the studio during a very special episode of New Shit. In a switcheroo from their usual sax/drums/guitar setup, they plugged in an array of pedals and computers and mixers and conjured a noise so mighty that it made the floors shake. They dubbed their improvised piece "Wolf Government," and it's a real jammer.
ckutmusic on 11/28/2012 at 10:00AM
Elaine Kahn's musical moniker Horsebladder has a sound that's part jagged and concrete, part rhythmic and trance-enducing. Khan's songwriting is strong, pulling from her background as a poet and author of several chap books, and her delivery is bang on, balancing sound elements and sequences like it's nobody's business. Equipment wise, Elaine has a panoply of things in studio including a casio keyboard of sorts, a couple of pedals, tape, and what appeared to be a tambourine modified with duct tape.
ckutmusic on 11/14/2012 at 08:00AM
The return of Les Yeux in the shape of his of his current solo moniker Farewell My Concubine was most anticipated. Several years back, he did a short stint as occasional host of experiment radio collective If You Got Ears. At the time we hadn't a clue of his music-making activities, we just knew he was a master chef of the free-form hash.
Squeezed into the back corner of studios at CKUT, Farewell My Concubine exuded a saturated stream of consciousness, a wavering storyline of structured sounds that were dirty/liquid around the edges, pulsing up the middle, and melodic in conclusion. His set made me feel like I was eavesdropping on something I don't have the capacity to understand. Mixing straightup songwriting with a hint of improvisation in the lyrical delivery, Farewell My Concubine's sound doesn't fall out of the sky fully formed - it's attained through a process of working it out over and over again until recognizable structures congeal, and striated components become smooth.
ckutmusic on 10/24/2012 at 05:52PM
Maica Mia is a meeting point where the musical lines of Maica Armata's vocals and guitar converge with Johnny Paradise's percussion and programming in time and audible space. Their live shows are devastating - period. It seems to all come down to the impeccable timing between the two, who seem to be intuitively tuned to one another's musical intentions. In the interview, Maica states: "I think we learned to play music together before we ever really learned to properly converse." Their song structures contain an underlying tension that commands attention to every subtle development. There's no rushing to the finish line, no gratuitous flourishes, their sound is raw and rich as can be heard on their very very limited self released 12" Sparcity Blues (there are 8 left..or less now) that was released in February.