Here are a few highlights:

Wednesday, October 17th: Alice Glass and Floria Sigismondi  present The Doll House
The Canadian electro-pop provocateur who you may remember from Crystal Castles, teams up with visionary director Floria Sigismondi to transform an 19th century fermenting cellar.

Thursday, October 18th: Round Robin: A night of improvised duets at the The Great Hall
A Red Bull Music flagship event series that has been held in cities including Montreal, Chicago, and Zurich, Round Robin comes to Toronto for a night of live improvisation.

Alex Ernewein, Andrew Forde, Angus Tarnawsky, Casey MQ, Cindy Lee, Cola, Gupreet Chana, James Hill, Kaan, Keita Juma, Matthew Progress, May, Maylee Todd, Melody McKiver, Sarah, Thawer, Skratch Bastid, Tanya Tagaq, Tika and more.

Saturday, October 20th: Pump the beat live: The Great Canadian Ball at the Design Exchange. From pop and R&B hits to RuPaul’s Drag Race, vogue and ballroom culture’s visibility in the mainstream has come a long way from the 1980s New York City underground scene depicted in Jennie Livingston’s seminal documentary Paris Is Burning.

Vjuan Allure, MikeQ, Tamika, DJ Blackcat, Vaughan.

Thursday, October 25th: Collision at the Ossington Tire. Meet the new generation of MCs putting Toronto on the global charts. Taking over an abandoned auto shop, we bring Red Bull Music Festival Toronto to a close with a lineup of hip-hop stars in the making, who have already racked up major co-signs and video views.

Lil Berete, Yasmine, The Sorority, Ebhoni, Philla B.

Full line up and tickets here

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For the evening the band added two additional keyboardists, a grand piano, a string section, and horns, among other additional live instruments, to the set. What is typically a quartet came to life as a full, interpretive orchestra on the Massey Hall stage. Occasionally joined by River Tiber and Charlotte Day Wilson, while Alexander Sowinski was sharing stories about their collective experiences and love for this city. The interaction really made this show a personal one, despite the fact that people could not dance or participate much otherwise (having to be sitting down all night and all).

The band played songs from their most recent release, IV, and Sour Soul, some more popular covers. Charlotte Day Wilson played “Work,” “In Your Eyes,” and shared a brand new track about falling in love, while River Tiber touched on his more emotional songs such as “Acid Test.” Both performers generally perform with a much smaller band so having the enhanced BadBadNoGood gave a whole new dimension to their songs. A big surprise came unexpectedly when BadBadNoGood brought out Jay Electronica on stage for “Eternal Sunshine (The Pledge)” with no introduction. A few tracks after the show wrapped up with an engaging instrumental set and an interpretive dance by Sowinski.

The friendship, passion, and sheer musical dedication were an ongoing theme this evening. The set was, needless to say, a memorable one, for every single sold-out ticket that walked through the door.

Images courtesy of Red Bull.

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Another MUTEK season wrapped up last weekend featuring the best in alternative electronic music and digital arts across various venues of Montreal. Each venue featured a set of themed curated performances from across the globe. Here are some of our highlights.

INTER CONNECT México brought together Omaar and Mexican Jihad on the ground level of SAT. The room atmosphere took the crowd back to  Mexico City’s underground after hours, filled with people dancing to the grimy and heavy bass.

Red Bull Music Academy (RBMA) took over NOCTURNE 3 for a much deeper and darker performances by Deathprod, Norwegian musician and producer. Lit by a single spotlight at first, Deathprod had the entire Metropolis in pitch dark playing what sounded like an organ, creating a horror movie atmosphere.

Barcelona also brought together a set of artists for the INTER CONNECT on the second night. Filastine and Nova from Barcelona presented Drapetomania, a mix of contemporary Indonesian sound (Nova) intertwined  with electronic music. Their visuals were quite interesting as well, engaging most senses in an organic multimedia experience.

Aurora Halal performed for RBMA Montreal showcase at the Metropolis [cover]. The venue was packed with people mesmerized by psychedelic techno and hard-to-look-away from visuals. The weekend wrapped up with DJ Nomad at the open stage near Place des Arts where he played a combination of tropical sounds highly influenced by African, Caribbean and Latin influences, occasionally stirred by techno, creating an exotic ambience. As his name suggests it, this DJ seems to have been everywhere and took the audience on tropical journey along with him.

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Redbull Music Academy has found its home in Montreal over the last month throwing impressive shows with widely recognized musicians and artists alongside some fresh blood. Noteworthy, RBMA has been choosing less-frequented and alternative venues to host these shows. This past Saturday, Jacques Greene’s live A/V set at Bain Mathieu was no exception. Located on the east side of town, the former bathhouse was built in the 1930’s then abandoned in the 1990s, and in its current incarnation, it’s being used for cultural events and parties. Rightfully so, the space is polished and pristine, almost too clean for the subterranean vibe that should have been the focus, but was near to absent.

The weather outside was wet, well suited for the setting. Washed in deep blue light, the porcelain floors of the pool held part of the crowd while the rest watched from the surrounding mezzanine. What would have normally been the bathrooms became a second space, and having two rooms broke up the sound stream nicely, so one could choose music based on their mood.

Hailing from Montreal but currently holding it up in Toronto, the evening’s headline Greene hasn’t released a record since 2014. His new album has been long awaited, and the live A/V set was promoting its arrival. As a result, this show was anticipated on the home front. Although he played just a week prior at the one-time revival of his crew’s Turbo Crunk party, the Bain Mathieu showcase brought a totally different crowd. Clad in black, the majority of those in attendance stood stoically, casually sipped their beers, and waited for Greene to take the decks. Running slightly behind schedule, he seemed stressed. A thick pane of glass hung over the booth, with his recent single title “You Can’t Deny” cascading softly over it.

The set itself felt slightly flat with Greene gently bouncing to his repertoire of well-known tunes and mixing in new track previews. The visuals were underwhelming, though streamlined and clean following his usual aesthetic. A large group gathered below the booth to dance hard, looking up in awe as if he were some sort of club-God – and there is no doubt, Jacques Greene has clout. Although his sound has yet to dip away from its recognizable samples & synth lines, there is something special about the way he structures his music. Greene understands a certain brand that isn’t necessarily in fashion at the moment, though he knows how to package it.

His sound has always been next-level ethereal, led by rounded-out signature melodies, oscillating between dance-floor-ready electronica and lush ambient house, with hints of R&B chilling in the background. He creates full-fledged soundscapes: tracks that grow, swell, and flow, tracks that have a serious crescendo. Towards the end of the set, Greene apologized to the crowd a few times for his lateness, showing a typically Canadian side. As a longstanding fan, the show didn’t make a huge impression. Maybe it wasn’t the right space, or set up, or crowd, or vibe, or maybe it just wasn’t his night.

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Red Bull Music Academy is taking over Montreal for a month of shows, exhibitions, and talks. Place Des Arts opened its doors to The Cinquième Salle. The room was nearly pitch black upon entrance, with a barely lit stage to match. The balcony seating felt awkward for those arriving late; people clutched their beers tightly as they tried to navigate the space. Photography was prohibited, and phones were kept out of sight for most of the show, in an attempt to embrace and engage with the full experience. But, as usual, a few broke the rules and pulled them out, texting nonchalantly under jackets, looking up every once in and while to make sure the show was still happening.

As the lights dimmed following the second intermission, Jean Michel Blais and CFCF aka Mike Silver entered from opposite ends of the stage. Neither addressed the audience, but instead, made way to their individual instruments, heads down in a gesture of intense focus.

This was the first live collaboration between Silver and Blais, though both are currently based in Montreal, and are highly respected in their individual creative fields. It has been a significant year in the realm of their careers, as Silver was nominated for a Grammy for his reimagined version of “Berlin By Overnight,” a striking violin piece originally composed by Max Richter. Jean-Michel Blais was signed to Arts and Crafts and has just released his debut LP Il, a mixture of classical composition and ambient sound.

The two collaborated effortlessly, or so their live show suggested. They displayed a minimal setup, with only Blais’ piano on one end and Silver’s laptop as well as a few midi controllers on the other. Blais perched in front of the piano, fingers gliding across the keys; he plays with such precision he could be mistaken for a pre-programmed machine. Silver is known for his creation of beautiful textures, layering found sounds over ambient fabrics and electronic drum structures; he did not disappoint, standing stoically behind his apparatus.

The pair created something suggestive of a cinematic experience; sound standing in for image.  Although visuals played out behind them (geometric shapes dancing in monochromatic and pastel colors), they crafted the narrative by way of resonant noise, detached vocal samples, and atmospheric melody. Their compositions started off light and airy, but gradually built into complex and profound stories. Blais’ piano harmonies were artfully pulled through Silver’s setup to feed out looping ambient structures backed by throbbing and oscillating beats. Their re-conceptualization of classic pieces by Steve Reich and John Cage was stunning; Silver adding playful synth tones into the mix, making things feel poppy and upbeat while still maintaining the emotional breadth and depth of each original piece. They performed an adaptation of Silver’s “Berlin By Overnight” remix, which was a personal highlight. The remix alone leaves the listener without words, but seeing it come to life was astounding. Blais took ownership of each note while Silver delicately assembled the intricate accents and vibrations to round out the song; they crafted something heartfelt and cry-worthy.

Blais spoke in French mid-way through their set, explaining to the crowd how he and Silver began working on the project. Later, Silver filled in the Anglo audience. They revealed that the performance was the culmination of a month and a half of intensive work and experimentation. Their dedication was visible, the show appeared to flourish without flaw. Blais and Silver drew the audience in close, held them tenderly in the folds of their mixes, moved them, and brought them outside of their quotidian experience.

They were honestly captivated; the performance was a definite top feature of the ongoing Red Bull Music Academy series currently taking over Montreal. The series thus far has reached well beyond the typical Montreal show, and Jean-Michel Blais and CFCF seemed right at home among the high-caliber work that has been shown.

All images courtesy of RBMA

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To those who grew up in the 90s rave was not just a party it was a lifestyle and an ideology: peace, love, unity, and respect (PLUR) hence the yellow smiling faces, peace signs and everything neon. Rumor has it that PLUR became a thing after Bones broke up a fight with: “If you don’t start showing some peace, love, and unity, I’ll break your faces” statement. So live and learn little ravers of today, the only semi-original thing you have is Kandi but even that is an idea borrowed from the hippies.

Fast forward to last Saturday, 22 years after the last Storm Rave, Red Bull Music Academy brought the event back above ground. Just like in the old days Frankie Bones was joined by Sonic Groove’s Adam X and Heather Heart as well as techno pioneers Lenny Dee and Rob Gee.

A solid 40 minutes into the depths of Brooklyn, down a dark Bushwick alleyway through a chain gate, we find a crowd of people spilling out of a warehouse garage door blissfully chatting (shouting) in the rain. “It’s loud in there, in case you couldn’t tell driving up.” The Muse warehouse taken over by RBMA looked like a legit night club, parquet floors and everything.

Over the last few years rave has entered the main stream through EDM shows and festivals, if you’ve been to one of those your view of a rave is blindingly bright small outfits on raging 20-something year olds and in many instances even teenagers. Storm Rave is not that. Storm Rave is an adult rave. The audience here are the original ravers coming out of cubicles, dusting off their wide-leg pants and breaking it down on the dance floor like 1992 has never left. My house is your house.

Admittedly not everyone was dancing, from the front to the back the crowd was thinning out and into a “patio” party as the rain stopped. Heart and Gee kicked of the reunion for the early crowd. As the rest of the city turnt, Lenny Dee and Adam X took the party into the night playing classic techno tracks occasionally mixing in various soundbites and samples from current R&B tracks. Frankie Bones took it all home with loud, dark, 2 hour set of punishing techno.

There are no parties like that any more, but that could just be the nostalgia talking. Lets recharge and do it again in a few months.

Images by Drew Gurian courtesy of Red Bull

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Through 2 hours, FKA Twigs performed her discography, ranging from the most recent to the song she made in collaboration with Google Glass. It’s hard to distinguish between what the focus of the show was because her dance choreography was impressively matched to her vocal performance. As the lights dimmed at the beginning of her set, a lone violin serenaded the enthusiastic crowd, before FKA strolled in. And then things went from slinky and seductive to sultry and sensual. With no ventilation in The Brooklyn Hangar things got hot quickly.

FKA Twigs takes a comprehensive direction in her music. Instead of relying on her voice, or the backing music, FKA Twigs incorporates her body into every movement, as if the closeups of her lips, or the ways in which the viewer is only offered a quick glimpse at a time of her exposed flesh are fundamental to the message of the song. For Congregata this was taken to the extreme, her backup dancers moved flawlessly from pop vogue to klowning and krumping, while FKA twirled in her jewel-lined bodice. For various songs her backup dancers were props for the message, FKA sensually draped herself over well toned dancers, pushing them around, directing their movement.

Everything about FKA Twigs is composed and calculated so it’s refreshing that Congregata offered a complication. Yes, the 2-hour performance was flawless in execution but live FKA Twigs is more than just an emotionless singer, she vibrates herself into each song, into each movement. Congregata seemed aware of it’s surroundings in Sunset Park, sandwiched between the bustling, exhaust-spewing Gowanus Expressway and the unhygienic Gowanus Canal, the movement was very much a part of New York City.

FKA Twigs, sweaty and probably exhausted, paused during the show and gave a shout out to the city, and everyone who helped make her performance happen. Her words, genuine and free, brought everyone together.

Images by Drew Gurian courtesy of Red Bull

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RBMA continued the mixing of loud and raucous with high brow by placing 100 Disciplines in the Brooklyn Museum. The interlude performer, Niños du Brasil, brought their glitchy bachata to a fairly empty crowd. Their music is constantly in motion, an undercurrent of shaking timber or metronome beat that fills your thoughts. They completed the more complex style of Kid Millions’ enveloping performance.

100 Disclipines used 20 drummers, a timpani, an electric keyboard, a violin and several other instruments to capture the narrative of Kid Millions’ time in New York City. He’s been pretty hush about the meaning behind the title, suggestive of the intricate way that musical pieces come together, and the discipline required to develop something so enveloping. The group of performers at the Brooklyn Museum were surrounded by audience members. They set up in the middle of the foyer in a neat little circle, their backs to some of the audience at all times, instruments and equipment creating a protective circle.

The event was unexpectedly nuanced. More than simply percussion developing a heart beat, Kid Millions allowed a story to unfold.

Images by Maria Jose Govea courtesy of Red Bull

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For that one night on May 2nd, RBMA partnered with Venus X to recreate GHE20GOTH1K at Brooklyn Night Bazaar. The one-night appeal is strong, it allowed Venus X to put on a phenomenal showcase while also demanding that there would be no re-creations. The night was ephemeral, and was held at a wonderful DIY venue in Brooklyn, now bought out of their lease because of rising rent – there will never be another event quite like it.

The night was about reliving subculture, the safe space that allows anyone to express themselves. At one point the words of Baltimore DA, Marilyn Mosby, echoed through the club, before being drowned out by electronic gyrations.

Legendary New Orleans Bounce artist, Sissy Nobby, was the host. While the night was filled with intense vibrations and energetic performances, GHE20GOTH1K sometimes falls to the same problem that New Orleans Bounce faces. Can ephemeral things exist in a culture that places emphasis on long term greatness? Is a one night affair doing anything other than making something that is unobtainable forever? Hey, remember that really fun party that Venus X threw for RBMA in 2015? Sissy Nobby was able to lead the crowd into a frenzy, with booty shaking everywhere? Oh, you weren’t there? Too bad.

Images by Maria Jose Govea courtesy of Red Bull

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Events like Electronic Africa gather DJs from the continent to show off what genre-blending work they’re doing, and provide an extravagant party to sweat and dance. Nozinja and DJ Spoko from South Africa, Titica, Chief Boima, and Dubbel Dutch brought it to North Brooklyn on May 1st at Villain.

There’s a bit of catch-up being played here. DJ Spoko plays his version of the popular Kwaito, a house-inspired blend of African sounds with electronic beats. It’s an incident of “does this sound like early 90s hip hop or is the mind just caught up in the fresh interpretation?” What it does well is capture the chanting style of traditional African music, which, in person, leaves little to be desired. The dancing is there, the beats are constantly pushing toward some throbbing build, the body must always be moving, but it misses the complement of having the entire crowd sing along.

What should be the focus too, of an event capturing Electronic Africa, is how this music isn’t merely world music, both complicated and complicating because Africa is the only continent that often gets treated as if it were a singular country, but carrying the adjective of electronic, elevating it to a progressive “other”. Google event participant, Chief Boima, and you’ll find, on the first page a website with his profile, a statement that Africa is a country which the artist founded. World music is often dismissive and generalising, suggesting that Western consumers only listen to it on occasion or when sampled by their favorite hip hop artist.

But Chief Boima does a little more complicating, adding what has been considered Latin roots to his traditional music. From the inspiration of Rio, to the Latin American Palenque dripping over each track, Boima delicately plays with what Afro-Latino means.

The event, subconsciously political, consciously drawing attention to underexposed artists and continents, was ravenous. There was much dancing, much excitement over each of the attendees, and a promise that RBMA NYC offers more old school learning.

All images are courtesy of Red Bull Music Academy

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