[Jeu de temps / Times Play 2025]

Artists and Submissions

26^th Jeu de temps / Times Play

Results | Artists and Submissions | Events | Awards | Jury

A total of 58 recent works were submitted to JTTP 2025 (57 are presented here). Here you can read the programme notes and artist bios for all submissions or just sit back and enjoy the pieces — acousmatic and videomusic works, and more!

Artists

Submissions

Mateo BELLEFLEUR MARTINEZ — aux antipodes (6:30 / 2025)

Antipodes are places that are exactly opposite, located at an extreme distance. This composition evokes the intersection of dissimilar spaces and a state of transition, questioning the very duality of these opposing dimensions. Fragments, ellipses…

Is the contrast between two dichotomous environments tangible or is it attributed only to our awareness of their distance?

Emanuel BRIE, Antonin GOUGEON-MOISAN — Quand on donne aux choses un sens, rien ne sert de chercher la direction (video — 24:17 / 2024)

Duration: 24:00, in continuous loop, 2h30 per day, 3 days (total of 7h30).

Quand on donne aux choses un sens, rien ne sert de chercher la direction is a performative installation inspired by capitalist modes of production, approached from a critical standpoint. Two workers, dressed in work overalls and surrounded by a collection of worn-out objects, work on something in front of us. They hack and saw a balsam fir trunk, lift rocks, transfer sand, transcribe strings of words and poems by hand and on a typewriter—but what are they really doing? Do they themselves know what they’re creating, or are they simply following the clock ticking at the center of the space?

In this piece, the sounds of materials and actions reveal a musicality where the real sound of matter blends with an accompanying musical arrangement, resulting in an incessant, iterative hum—the sound of a machine that doesn’t know how to shut down. In a workday where the punch clock promises the next break, the cycle of labor itself never stops.

The daily routine of a worker—manual or clerical—is made up of countless standardized gestures. But can one still exist uniquely, simply be? Through repetitive gestures and ambiguous actions that may leave one puzzled, these two anonymous workers live out, before us, the banal spectacle of modern society. They work, earn, eat peanuts, and start again—until the clock rings—without asking questions.

This installation-performance finds meaning in its duration and its iterative, unending nature. It invites visitors to observe the construction unfolding within a fragmented scenography at different moments of the day, over the course of several days. Within this apparent formal repetition emerges a parallel commentary on utility, compensation, materiality, and the exhaustion of meaning.

Emanuel Brie is an electronic music composer from Montréal, QC. Guided by piano improvisation and electronic rhythms, he blends textures drawn from soundscapes, modular synthesizers, and creative recording techniques where sound is generated from unexpected places and methods. He allows a human imprint to shine through his music by embracing randomness, imperfection, and the uniqueness of sonic moments, revealing a deeply organic side to his practice.

Antonin Gougeon-Moisan (he/him) is a 31-year-old composer and sound/video designer from Montréal, QC. After studying in the Production and Technical Arts program at the National Theatre School of Canada, he joined the multimedia studio Mirari as a multimedia director. Over the span of six years, he contributed to the creation of upwards of a hundred performing arts projects and developed installations presented in many countries.

In 2022, he began a Bachelor’s degree in Digital Music at the University of Montréal. Now a Master’s candidate in Composition and Sound Creation at UdeM, his work as an artist-researcher explores the musicality of spoken voice, the transmission of knowledge in sound art and audio documentary, as well as the relations between memory and sound. Through his creations, he weaves a sensitive dialogue between words, images, and sonic textures, creating immersive and evocative works.

Alex BRISSON — Bodyspirit (video — 10:00 / 2024)

“For physical training is of some value, but godliness has value for all things, holding promise for both the present life and the life to come.” (1 Timothy, 4:8)

Bodyspirit explores the relationship between bodybuilding and spirituality through performance, where the body becomes a musical instrument. Using muscle sensors, movements influence the sound composition in real time, creating a dialogue between physical and spiritual effort. The performance invites the audience to contemplate the relationship between body and mind, and how physical discipline can lead to spiritual growth.

Joshua BUCCHI — UVB76 (11:25 / 2025)

UVB76 is built from recordings of the enigmatic shortwave radio signal of the same name — an ever-pulsing broadcast of uncertain origin, long shrouded in speculation and silence. This electroacoustic work treats the radio’s ghostly transmissions as sonic relics, dissecting and reassembling them through a compositional lens influenced by hauntology and nouveau réalisme. Echoing Jacques Villeglé’s “lacerations,” fragments are torn from the ether and layered, decayed, and revealed—spectral traces of lost messages, looping in limbo.

For over 30 years, I’ve been active as a composer and performer across a wide range of musical practices, forms, and explorations. My artistic work lies at the crossroads of contemporary instrumental and electroacoustic music, progressive rock, jazz, and Afro-Cuban traditions.

My compositions have been performed in Switzerland, France, Canada, and the United States by ensembles including Nouvel Ensemble Moderne (NEM), Orchestre de l’Université de Montréal (OUM), Sixtrum, Ensemble Matka, the Contemporary Orchestration Research Ensemble (CORE), Quatuor Duggan, and the Ensemble Contemporain de la Haute Ecole de Musique de Genève (HEM-GE).

As a singer, bassist, and multi-instrumentalist, I’ve performed at venues such as Sunset and Cabaret Sauvage (Paris), Château Rouge (Annemasse), and Victoria Hall and Studio Ernest Ansermet (Geneva). With the progressive rock quartet Guacamole’s Green, I revisited the music of Frank Zappa and co-released an album of original compositions in 2016.

My training spans conservatories, jazz clubs, rock stages, and street rumbas. I hold a Bachelor’s (2011) and a Master’s (2013) in mixed music composition from the Geneva University of Music, where I studied with Michael Jarrell, Luis Naón, and Eric Daubresse. I also completed a DEPA in composition for stage and screen at the Université de Montréal (2016), and earned a Doctorate in Composition and Sound Creation in 2023 with a dissertation exploring how “worst practices” can foster originality and authenticity in the creative process.

My work has received support from the FRQSC and the Nicati-De Luze Foundation, and I was awarded the “Prix du Conseil d’État de Genève” in 2013.

As a child, I was a member of the Maîtrise des Hauts-de-Seine boys’ and men’s choir, performing in major Paris opera houses and touring internationally (USA, South Africa, Sicily, and Greece). I also worked for several years as a voice actor for children’s dubbing.

Matisse CHARBONNEAU — Крик душі (10:00 / 2025)

In the heart of ashes and ruins, where laughter once filled the air,
war tears everything apart in its path.
The earth weeps, families search for one another among the debris,
and the shadow of fear hovers over us all.
This is not merely a war for land —
it is a cry from the soul, a call for life in a world without fear.
Through this music, a voice rises —
the voice of unseen suffering and the hope for a future
where humanity rediscovers its peace.

PIERRU is a towering bird.
It can only be seen on rainy days, when the sky gently collapses, or in thick fog where everything trembles.
It never truly reveals itself — it haunts, it passes through.
It is the blurred reflection of my thoughts, of what slips away, of what I seek without naming.
I don’t belong anywhere.
I am lost, gracefully.
I let my emotions move through me — unfiltered, undistilled.
I pour them into breath, into echoes, into what resonates beyond words.
I want sound to be felt differently — not just heard, but lived, shivered through.

Tristan CHEVALIER — Nexus 1 (4:51 / 2025)

Nexus 1 is the culmination of a 4-month learning process in sound recording, editing and discourse. It’s a crossroads of back-and-forth, sudden bursts and mechanical articulations. When it empties, we can contemplate its vastness.

After completing his studies in classical piano, Tristan Chevalier made the decision to reorient himself in the field of digital music in 2024. He will soon begin his second year as a major at the Université de Montréal. His music reflects a keen interest in editing and sound recording.

Cordell COLLETT — Nøkken (2:44 / 2025)

Nøkken embodies the delicate equilibrium of existence-light and shadow, joy and sorrow, and all the nuances in between. Nature, in its raw and unfiltered truth, mirrors this duality most profoundly. This piece serves as a reflection on reconnection and the timeless dance of opposing forces where humanity has grown distant from the divine and the natural.

Cordell Collett is a skilled music producer and audio engineer based in Edmonton, Alberta, with a passion for crafting high-quality soundscapes. Currently pursuing a Bachelor of Music in Digital Audio Arts at the University of Lethbridge, Cordell combines formal education with hands-on experience to deliver professional audio production, mixing, and mastering services.

With a background rooted in piano with the Royal Conservatory of Music, sound design, and studio work, Cordell has collaborated with diverse artists, including the Cool Catz Combo, Chris Camp, and R!Plifeless, contributing to projects ranging from singles to full discographies.

As a recipient of the Fine Arts Dean’s Honour List, Cordell’s dedication to excellence and teamwork shines through in every project.

Jacob DESJARDINS — L’amitié innommable (25:25 / 2024)

This installation explores friendship as an ethico-political notion; a powerful exchange of the sensible. It proposes a piece at the intersection of generative music, acousmatic and sound documentary. L’amitié innommable is a poem, a call to abandon the void of our era.

Jacob Desjardins (Errance) is a composer and multi-instrumentalist performer of electroacoustic music. Holding a Master’s in Urban Studies from Institut National de la Recherche Scientifique (INRS), where he analyzed trajectories of transgressive practices in the context of Mexico City’s new airport construction, he currently pursues a Master’s in composition and sound creation at the University of Montréal. His musical journey developed through various formations, notably post-rock (Orian) and free jazz (Brick Trio).

His current approach privileges modular synthesizers and field recording, developed through improvisation, intuition, and automatism. His Errance project elaborates a constellation of superposed sound environments, oscillating between subtle rumbles, tinnitus-like crackles, and harmonious timbres, proposing sonic corporealities evocative of multiple narratives.

In cinema, he composed soundtracks for documentaries 2012/Dans le cœur and Éviction (2023), currently collaborating on Simon La Rochelle’s upcoming documentary. His debut solo album, released April 2024 on Montréal label Humidex Records, integrates pieces conceived for the 2012 student strike documentary.

His current academic research interrogates relationships between inhabiting, inoperative — désoeuvrante — composition (post-indeterminist), territory, and everyday musicality. Simultaneously, he develops with Simon Chioini a new electroacoustic improvisation project combining snare drums, percussive objects, and concatenative sound synthesis.

Marc DOLBEC — JDT1.1 (5:57 / 2025)

Will go to level design college for video game and like to compose.

Maurice-Gaston DU BERGER — Si tant est qu'elle existe (6:04 / 2025)

Maurice-Gaston Du Berger, born in 1987. After studying composition with José Evangelista at Université de Montréal, he completed his Master’s degree in 2011 under the direction of Ana Sokolović. He regularly receives grants form Canada’s and Quebec’s Arts Council and. He also works with renowed ensemble such as Studio de musique ancienne de Montréal and Les voix humaines. Since fall 2024, he has been enrolled in digital music at the Université de Montréal’s Faculty of Music. In his work as a composer, Mr. Du Berger shows a great interest in words and language, paying particular attention to the different types of relationships between music and text.

Graeme DYCK — Frost Worlds: Micro-Geographies of the Anthropocene (11:11 / 2025)

Frost Worlds is a micro-geographical study based on snow and ice contact microphone recordings made during winter in Saskatoon, when increasing climate change-induced volatility has meant rapid shifts in weather conditions, from sudden -40 C snaps to unseasonably warm periods and unusual precipitation. Heard up close, this volatility generates a swift succession of ice soundscapes that speak to both the injury humans do to our nonhuman neighbours and the imaginative potential of the ever-changing, ever-adapting micro-worlds around us: a bristling desert in an empty parking space, stratified ice and dirt migrating down a foot of gutter, precarious crystal pillars creaking in the shade of a pine, the heavy clatter of snowflakes on asphalt. Careful field recordings are combined with additional sound sources to explore the life of these tiny, vibrant worlds.

Graeme Dyck is a Saskatchewan sound artist, writer and scholar whose practice disregards disciplinary and mediatic boundaries. They have undertaken interdisciplinary work between music, mathematics and philosophy, and won Canadian competitions for fiction and nonfiction. Graeme holds a BMus, a BSc in Mathematics and a certificate in jazz from the University of Saskatchewan, and has recently finished an MA in electroacoustic composition and sonic art at the University of Birmingham (UK).

Dominic EVERITT — Solar Power Flower (5:25 / 2025)

Solar Power Flower was originally conceptualized as a vocalise — a piece for voice with no lyrics. The voice imitates standard instrument parts, but with a more human quality. Combining this idea with digital audio effects and spatialization created a beautiful and immersive soundworld.

Dominic is a Queen’s University BMus graduate focusing on theory and composition. Dominic has presented ludomusicological research at various conferences including inquiry@queens and MusCan. Dominic will be beginning an MMus degree at Wilfred Laurier University.

Faith FEHR — Play, water. (9:01 / 2025)

Juro Kim FELIZ — Weekend Rain (11:32 / 2021)

Death invites solidarity and diplomacy. The death of Japan’s Emperor Hirohito in 1989 brought an end to the “62 year-long ‘Shōwa’ period of war and peace.” With imperial Japan’s World War atrocities laid to rest, the world has sent its deepest sympathies. Radio NHK’s English shortwave broadcast reported a global response to this event, heard at 07:50 GMT in 07 January 1989 at 15270kHz.

Created for Cities and Memory’s “Shortwave Transmissions” project, Weekend Rain reimagines rain sounds within expanding cyclical structures over time. Recordings of the piano, Japanese koto, and found objects diffuse a canvas of raining sounds as haiku poetry juxtaposes with the shortwave broadcast. The poetry forcibly creates a narrative as it responds to the broadcast. A numbers station broadcast (07:55 UTC, October 4th of 2021 at 9065kHz) joins this garb of encryption as if to mask the loneliness of death with matters of geopolitics and global affairs.

Toronto-based composer Juro Kim Feliz has premiered works across Asia, North America and Europe. Finishing studies at the University of the Philippines and McGill University, he writes music that “thrives in the sustained tension, like the kinetic energy emanating from the corners of a frame, the opposing forces holding up a house” (Musicworks, 2022). Awards include the Goethe Southeast Asian Young Composer Award (2009) and Highly Commended distinctions at the Ars Electronica Forum Wallis (2018, 2024). Serving as Composer-in-Residence of Toronto’s New Music Concerts (2022–23), Feliz also completed residencies at the Brush Creek Foundation for the Arts (2018), Kimmel Harding Nelson Center for the Arts (2019), the Canadian Music Centre Ontario Library Residency (2018–19), and Willapa Bay AiR (2023). He has released music with MusiKolektibo, Ravello Records, Ablaze Records, alongside synth-pop music as Grumpy Kitty Boy. His music is published in Babelscores.

Léonie FLEURY PARÉ, Thorin FREEMAN PETERS — Room Tones (video — 4:43 / 2025)

Room tones is a 4:43 minute 5.1 channel electroacoustic composition which uses a mix of live improvised recordings and fixed media, all created on the Doepfer Analog Synthesizer. The foundation of the piece is built on the simulation of an amplified room tone, layered on top of itself, which subtly carves out the shape of the piece while navigating through it. The arrangement utilizes manufactured sound in both the fixed media and performance aspects of the composition, as well as a collection of organic recorded sounds and the human voice manipulated through the Doepfer, blurring the lines between natural and processed sound. Inspired by the expansive world of sound within the confines of space, Room Tones invites the audience to reconsider sounds which are often tuned out, encouraging a deeper presence and awareness of the seemingly mundane.

The fixed media was created using several modular synthesis techniques including ring modulation, amplitude and frequency modulation, high/low/band pass filtering and sequencing. As well the piece features processing from more specific modules like the black hole DSP2, the supercell and control from a theremin. The final composition is a blend of the fixed media and performed material: two improvised vocal sessions and segments of a field recording. The piece was recorded and arranged in Logic Pro X, and utilizes minimal editing techniques like copy/paste, equalization, time-stretching, gain automation throughout the entire composition, as well as occasional pockets of automated pitch, delay and reverb. Structured upon the foundation of one minimal, yet spacious noise patch which evolves and shapes the piece, Room Tones creates a fine balance of subtle and expansive movement through a curated mix of noise and tone.

James FORD — kaleidokonkh_v1_eccojam1 (6:06 / 2025)

This work, in the tradition of fourth world music (Jon Hassell), imagines the sound of a futuristic trumpet in the form of a conch shell. Recording of improvisers James Ford (Conch Shell, Piano) and Eden Zhao (Percussion) took place at Oscar Peterson Hall. The recordings were processed and rearranged to create this first speculation of a kaleidoscoping conch.

james ford is a piano student who searches for interesting interactions between acoustic instruments and electronics.

Mélanie FRISOLI — Keeping Quiet (11:20 / 2025)

Keeping Quiet is the first acousmatic piece from Trilogie Sinueuse, a trilogy of works stemming from the spatial sound installation Keeping Quiet, presented in May 2024 during the LFO Festival at the Faculty of Music, Université de Montréal.

The installation invited audiences on a sound walk through a dark, enclosed space, designed to explore the effects produced by the meeting of different sound waves in a meditative and reflective atmosphere.

In this piece, Keeping Quiet delves into various dimensions of sonic and musical space, weaving together sine waves, fragments of voices, and the recording of a kettle.

Originally from northeastern France, a formerly prosperous industrial region, Mélanie Frisoli has been composing for almost twenty years. During these years, she has travelled the world performing on stage and recording albums (she has six releases on different independent labels created between 2003 and 2016). First and foremost a guitarist and author, a free electron within the “new French scene”, she has been awarded several prizes, including the SACEM prize in the Printemps de Bourges. She has also written three books of “false poetry”. Her passion for words has gradually transformed into a passion for sound and its abstractions. In Montréal since 2015 she has immersed herself in audio production techniques, enabling her to carry out various sound-based projects. Surrounded by such talented teachers as Robert Normandeau, Nicolas Bernier, etc., she has embarked on a career in acousmatic music coloured with a penchant for soundscapes, whether real or imaginary, as well as a growing interest in multiphonic diffusion.

Daniela GASSI — Walking Through Bells (12:05 / 2025)

Walking Through Bells is a piece about having the perspectives of being inside and outside of a bell at the same time. What would you hear if you became tiny and the bell you were inside of was vibrating? How would you perceive time? What would the air feel like with the giant bell’s vibrations pushing it? What images or memories might pop into your head while having this experience? What would different types of bells sound like if you were inside of them? At the same time, you are your normal self and on a winter’s walk, hearing sounds of the city and church bells in the distance. One of the source recordings comes from a sound walk I did in Helsinki and includes the sound of my footsteps on snow and the church bells. The other source sound is a recording my viola, but slowed down so much that you hear sprinkles and a drone/whining noise. This is what my “voice” could sound like in a timeless state, such as being small and in a ringing bell, and in addition to the footsteps, it can represent the perspective of the listener while inside the bell. Hope you enjoy!

Daniela Gassi is a violist, educator, improvisor, and emerging composer. She recently completed a Master of Music at the Royal Conservatoire of Scotland in viola performance. In addition to her performance studies she has taken various creative-based courses during her Master’s studies and has taken a keen interest in electroacoustic composition. Daniela is originally from Toronto.

Gabriel GENEAU — Ecdysis (video — 7:28 / 2023)

Ecdysis is a videomusic that traces the path of inner transformation. Through a discreet yet inhabited struggle, a body seeks to free itself, until it reaches a tipping point. The film interweaves sensitive music, symbolic images and dynamic lighting effects, inviting the audience to plunge into the back-and-forth of an emotional moult.

Gabriel Geneau is an artist whose practice revolves around the encounter between sound, light and technology.

He creates works where music and the visual complement and nourish each other, offering unique sensory experiences.

Always on the lookout for new creative avenues, he integrates modern tools to enrich his artistic language, while remaining faithful to an intuitive, emotional approach.

Rob GILL — cube mass01-p2 (4:29 / 2024)

This is part two of a four part audio work. This audio was created in tandem with and to complement a 3D computer animation project going by the same name, ’cube mass’. The animations were created in Blender. A collection of default cubes were gathered into a ’mass’ in the centre of the work space and the structure was then hollowed out. The animations consist of nothing more than flying around inside the structure looking at the results from different angles. Both the cubes and the accompanying audio material were arranged according to the same approach — a ’roughly even scattering’. This mundane process is employed to allow the resulting configuration of material to be as direct a translation of inner state as possible. During the course of the journey through the structure, moments of inspiration are triggered by the audio and visuals working together. These moments serve to embody particular aspects of living presence as distinct audio-visual artworks. I then make prints and paintings of these signature moments.

Rob Gill has been working independently as a media artist for nearly three decades now. His projects embody a range of media such as audio art, programming, installation, 3D computer graphics and animation, and painting, all of which work together as a means to reveal, study and explore aspects of the human psyche, in particular, the creative process itself. After attending Queen’s University in Kingston for his BFA (specializing in painting), he spent an extended period of time in Muskoka (Ontario) developing and establishing a consistent and coherent artistic direction and body of work. Now moving between Toronto and Muskoka, he presents his work both online on his website and in live venues. His interactive work invites participation which is then translated through processes that employ dynamic systems, complex systems and the like to generate real-time 3D computer animation with accompanying audio from which final audio works, videos, paintings and prints are produced.

Antoine GOUDREAU — co.loss..deus: (video — 6:58 / 2024)

“Advent of the monolithic computer era. Just as swiftly came its downfall.”

co.loss..deus: is an exploration of the limits of digital image denoising using Blender’s raytracing Cycles engine and NVIDIA’s OptiX denoising algorithm.

By limiting raytracing to a single sampling of the 3D scene, the denoiser receives too few pixels to faithfully restore the image, thus creating raw materials that are simultaneously blurry and sharp.

A poignant analogy for digital degradation, the work also employs a musical treatment reminiscent of vaporwave, video game cutscenes, and plunderphonics.

Composer and performer of experimental music, Antoine Goudreau explores the perceptual constructs of sound, movement, and visuals to stimulate both conscious and unconscious thought in his audience. He designs his works as personalized experiences that guide participants toward the liminal spaces of human experience.

As a musician, he challenges the ritualistic conventions of concerts by using unconventional spaces and integrating the audience’s diverse perspectives and listening positions as compositional elements. As a media artist, he creates physical and synthetic spaces that allow direct interaction with the sonic medium.

The concept of “jank” informs his approach to human-machine interaction and computer-assisted composition. Glitches in video games and their use in retro game speedruns are among his primary sources of inspiration.

Goudreau has collaborated with several community centers in the Outaouais region, notably with the Bizarre Love Triangle collective in Artengine’s spaces. Actively engaged in the Montréal music scene, he has served on the decision-making committee of Vivier InterUniversitaire and the artistic committee of Codes d’accès. His works have been performed in Canada, the United States, Spain and Indonesia.

He has developed his audiovisual practice under the mentorship of Myriam Boucher, Line Katcho, and Barbara Finck-Beccafico. Remaining active in instrumental music, he regularly collaborates with composer Arya Deva Suryanegara and is a member of the Balinese gamelan ensemble Giri Kedaton. He is one half of the duo Phren, with saxophonist Antonin Bourgault.

Under the alias Maraud, he produces electronic music, with his album off work released on Soame Records in February 2024. A graduate with a bachelor’s degree in mixed composition from the University of Montréal, he lives and works in Tiohtià:ke/Montréal.

Alexandre HAMEL — Démonstration 01 de Konrad et Caligari (video — 12:10 / 2025)

Konrad and Caligari are two synthesizers made by my hand in their entirety. Konrad (upper part) comes from electric schematics, and Caligari (lower part) is a circuit conceptualized by me, which was possible by me learning from the first one. This performance is a way for me to look back on the creative process and to honor those two projects of instrument making that kept me inspired all throughout last year.

Nolan HILDEBRAND — Unearth, Exterminate (3:35 / 2025)

Unearth, Exterminate is an acousmatic work that features field recordings and PlantWave recordings provided by members of the Oxford-Penn-Toronto International Doctoral Cluster. The theme of the commission for this work was Undergrounds/Underworlds with a focus on environmental humanities and climate justice.

Meditating on this theme, I imagined an underground world of alien insects.

In the opening of the work, we hear the sound of digging against a surreal cityscape and a distant underground sound mass of alien insects. As the digging grows louder, so does the insect sound mass illustrating a journey to the underground. Eventually, we break through into an underground chamber and are confronted with swarms of squirming, squealing creatures. These squeals then turn to cries of horror as the alien insects are slaughtered.

Ultimately, the work reflects the human destruction of a species, a habitat, and an environment.

Nolan Hildebrand is a composer and noise artist based in Toronto. Nolan’s music explores conceptual and physical extremities to create intense and engaging music. His musical output spans graphic scores, classical ensembles, electroacoustic and acousmatic music, and performance in an experimental solo noise project dubbed BLACK GALAXIE. Nolan’s music has been performed around the world including Darmstädter Ferienkurse, International Computer Music Conference (ICMC), Forum Wallis, and Bang on a Can LOUD Weekend. He has had opportunities to work with the Winnipeg Symphony Orchestra, ECM+ Ensemble, XelmYa Ensemble, Jonny Axelsson and Nick Photinos. Nolan completed his BMus in composition with Gordon Fitzell and Örjan Sandred at the University of Manitoba and an MMus in composition under the supervision of Eliot Britton at the University of Toronto, where he is currently pursuing a DMA with a focus on graphic notation and electroacoustic music under Kotoka Suzuki and Eliot Britton.

Julien HUGHES — Eukaryote (5:40 / 2024)

Eukaryote is a 5-channel acousmatic work inspired by mitosis, meiosis and, cytokinesis. The piece is a process-painting done in time, timbre and melody. It depicts the shock of growth and change, the excruciating mess of life as it reproduces and differentiates itself. From a sudden, singular event a slurry of gestures and echoes split off from one another against the backdrop of an incipient melody. Repetitions sound with a difference, and form develops from the interplay of entropy and emergence.

Julien Hughes is an experimental sound artist. His practice is focused on the sonification and resynthesis of natural phenomena, and on mathematical models of the material world repurposed for sonic portraiture.

Alëna KOROLËVA — Adalar (15:45 / 2025)

I’ve always been drawn to urban spaces with distinct acoustic signatures — places where sound carries memory and meaning. But such spaces are growing increasingly rare due to the omnipresent noise of internal combustion engines. My search for different sound cultures brought me to Adalar — an archipelago of car-free islands in Turkey. Technically a district of Istanbul, they feel like a world apart.

Private motor vehicles are banned here. For a time, horse-drawn carriages were the primary means of transport, but they too were phased out a few years ago due to concerns over animal welfare. Those working horses now live in retirement on the islands, tended by city workers who take them for daily walks through the fields.

Today, locals and visitors get around the islands by bicycle or small electric carts. The soundscape here feels noticeably different from most populated areas. Human-made sounds don’t dominate as much. Instead, they share frequencies with the voices of animals, plants, water, and wind — each finding its own place in the mix.

I recorded mostly at night — when ferries, airplanes, and construction came to a stop — hiding microphones in tree branches. I also wandered the islands during twilight, encountering special moments which were only possible in the absence of cars.

The opening scene — featuring Ramadan drummers — was captured on Istanbul’s continental side. During Ramadan, these drummers traditionally played the role of an alarm clock, waking residents before dawn to give them time to prepare and eat sahur, the pre-fast meal. Though this tradition — with its thunderous 3 a.m. rhythms — is fading, it remains a distinctive sound signature of old neighborhoods which were originally designed for pedestrians.

What intrigued me most in the islands’ soundscapes were pauses. Sometimes it was calls to prayer punctuating the day, offering moments of connection for some and enforced reminders for others. Other times a change in rhythm and volume shifted focus from one layer of soundscape to another, like the gaps in the conversation of Scops owls before sunrise.

Alëna Korolëva is an artist and curator who works with sound, photo and video, and curates programmes for film festivals. She holds a master’s degree in documentary filmmaking and has made several short films. She worked as a programme curator at the Message to Man International Film Festival and co-founded and curated the Kinodot Experimental Film Festival. Since 2018 she has dedicated herself to making sound art. Her work is focused on field recordings, acoustic ecology, soundscape studies and acousmatic composition. Her technique employs elements of documentary storytelling and experimental music.

Robinson LANGEARD — Morphème (6:21 / 2025)

Morphème is a multichannel electroacoustic work derived from an improvisation transcription for piano and drum set, recorded live using a pair of Zoom H5 recorders. The piece stages an evolving dialogue between the two instruments, where rhythmic interplay and gesture gradually erode into a complex, unstable mass. Granular processing techniques are applied to the recorded materials, generating mobile textures that circulate across the five-channel space. While the instrumental sources remain fixed, the acousmatic layer introduces a sense of displacement and morphological ambiguity. Morphème investigates fragmentation not only as a sonic strategy, but as a structural principle—where form emerges through the disintegration of vocabulary.

Étienne LAVALLÉE — Rudéral (19:44 / 2024)

In the interstices where nature remains, Rudéral deploys a living landscape that gives voice to places and the stories that inhabit them. Through a composition combining local testimonies, environmental sounds and participatory interactions, the installation invites us to listen to what whispers beneath our feet.

Étienne Lavallée shapes sound as a living material, blending timbres and textures to craft sensory worlds where music and image intertwine. Fascinated by the power of audiovisual experiences, he creates works that awaken a deep awareness of climate issues. A graduate in music composition for visual media (2023), he has composed soundtracks for documentaries, experimental films, fiction, and independent video games. Currently pursuing a master’s degree, he delves into the connections between space, environment, and human impact. His installations and compositions transcend mere spectacle, offering audiences an immersive journey that redefines our bond with the world. Through his creations, Étienne invites reflection on the interplay between collective memory and nature, between impact and harmony, establishing a poetic and transformative dialogue between humanity and its environment.

Malte LEANDER, Charles HARDING — Ecomorphia (32:25 / 2025)

Ecomorphia is an original work, created for the +15 Soundscape Space at Arts Commons. Set in and around a forest, it is structured in three parts that together capture a metamorphic, cyclical journey through different perspectives.

In part one we explore a subterranean space. Hear the imagined sounds of the bedrock, soil and root systems beneath a great forest, a space where organisms sense each other through vibration. Nutrients, minerals and matter shift and exchange in a mysterious ecosystem of rumbles and murmurs. Trees stretch their roots deep, they whisper, grumble and sing in strange, ancient languages. This is the space that life springs from, and the space that life returns to when our bodies are ready.

Part two ascends to ground level, where we enter the minds of three human travellers moving through and around these woods, we hear what they hear — it’s the present day, and here too there are elemental forces at play. A passing storm thunders on the horizon and disturbs the forest’s avian inhabitants. Later, a messenger zooms past on their motorbike, just as our travellers traverse a path under a bridge at the forest’s edge.

In part three, our perspective shifts again, as this time we travel towards the airy skies above, the birthplace of the wind that forms our very breath. Breath unifies us with all plants and creatures of this planet. We approach the upper reaches of the atmosphere. From up here, the forest feels so small, so far below. What are we missing down there? As the flight concludes, we dive back, back through it all, through time, down towards the subterranean space from where the journey began.

Malte Leander is a Swedish composer and artist currently residing in Montréal, exploring the voice through text-sound composition and acoustic ecology in his artistic practice.

Charles Harding [he/him] is an emerging sound maker living in Tiohtiá:ke / Montréal and studying electroacoustic composition at Concordia University. His current focus spans various artistic disciplines, including algorithmic composition, soundscape design, creative coding, VR/AR and, more recently, interdisciplinary collaborations in weaving and sound with the textile artist Emily Blair. He has had opportunities to showcase research, projects and collaborations involving immersive and interactive audiovisual installations at the likes of ImageFest in Colombia and Visiones Sonoras in Mexico. Through his work with technology, he always seeks to build links to nature and organic material.

Vivian LI — Sonic Memories of Fleeting Times | 流声逝忆 (15:00 / 2025)

Sonic Memories of Fleeting Times | 流声逝忆 is a multiphonic, spatialized acousmatic piece that adopts a documentarist approach, exploring themes of intimacy, memory, and time through an aesthetic inspired by radio art. The work draws on autobiographical sound recordings — capturing moments at once mundane, intimate, and deeply personal — to create an immersive experience that transports the listener into another reality, another space-time.

*

A collection of lived experiences—
laughter, rain, eavesdropped conversations—
preciously fading, as they form.

To remember is to listen closely,
before they recede into the realm of memories.

~ ~ ~

“The curated recording is a hedge against mortality, the fragility of memory, and the ever-receding substance of history.” — Jonathan Sterne

Vivian Li is a Tiohtià:ke/Montréal-based sound artist and composer whose work explores the fragile interplay between memory, presence, and the ephemeral nature of lived experience. Through field recordings, radiophonic techniques, and spatial composition, they construct immersive sonic environments that hover between documentation and poetry—where laughter, rain, and half-heard conversations become resonant archives of lived experience.

A recent graduate of Université de Montréal, her practice is rooted in the act of listening as preservation, featuring slow-evolving ambiences, autobiographical recordings and tactile textures to transform moments of introspection into shared sonic spaces.

Betty LING — Cascade (2025) (video — 4:00 / 2025)

Loosely inspired by Dripsody by Hugh Le Caine, Cascade is an audiovisual work focused on sound exploration through video and audio recordings of water dripping into a glass. The captured sounds were transformed and processed to create a sonic narrative of growing intensity. The piece highlights the emotional dynamics and evolution of sound material, illustrating the creative momentum and experimental processes that accompany the development of a contemporary musical work.

Betty Ling is a composer, filmmaker, and visual artist specializing in the intersection of sound, image, and narrative. Currently pursuing her studies at the University of Alberta, she focuses on integrating musical composition with cinematic and visual art practices to develop immersive, multidisciplinary experiences. Her work explores innovative approaches to sound, emphasizing emotional depth, texture, and the imaginative potential of music within contemporary artistic contexts.

Lauré LUSSIER — Thèmes & Variations (31:00 / 2025)

Thèmes & Variations is part of the duo (Rondo and Thèmes & Variations) in the complete work “Drifsways”. In Thèmes & Variations, the arc moves forward: not one, but two themes, each unfolding into distinct lineages. Here, the variations are not ornaments—they are erosion, renewal, disguise.

With an inimitable style and approach to music, Lauré Lussier’s Electro Orchestral music is characterized by an amalgamation of tradition and innovation. Out of a conscientious fusion of experimental (electroacoustic) and concert (classical) music influences, compelling musical works of art with meticulously crafted immersive sonic atmospheres emerge. Listeners are carried on unique sensory and intense journeys. Lauré strives to create iconoclastic, surprising and riotous Electro Orchestral music that is at once beautiful, intense, captivating and stunning, and shuns artistic approaches that can too easily be reduced to labels. Lauré Lussier holds two Bachelors of Arts in music, from McGill University and Université de Montréal.

Alexandra MAISON — … Une fois j’ai vu… (3:16 / 2025)

This work is part of the project for an album mixing electroacoustic and traditional instruments. This project is led by Professor Thierry Gautier, as part of private classes at the Université de Sherbrooke.

… Une fois j’ai vu… is the title of a painting by Gilles Marcou, an artist from Quebec engaged in the struggle for the protection of Canadian wildlife.

It depicts a wolf on a light background, three birds escaping from its mouth. On its rear, a heart is tattooed.

The sound work takes the part of installing the visual landscape present on the painting: a wolf, alone, in the forest. The tone is mysterious, almost dramatic at times, and a period of instability and malaise is felt. Does the wolf have emotions buried in him that man cannot tame?

When the instruments enter, the listener confuses his own identity with that of the wolf; he seeks answers to the painting in his own consciousness. Then the instruments merge with the soundscape, resulting in a real fusion between the viewer and the subject of the work. Man belongs to nature, and becomes one with the animal.

The atmosphere takes a lighter turn, looking for a goal in this solitude. Finally, all the musical elements join to lead to a fade-out on the realization, the answer to its questions: the birds that fly and mean any kind of freedom: of thought, movement, living.

This finally leads to the final crescendo of the liberation of his grudge against humanity, so long buried. From then on, man becomes a wolf again. Man becomes part of wildlife again.

Alexandra Maison is a young composer, multi-instrumentalist and project leader based in Quebec. After completing a course in modern music and electric bass performance in France, she started a bachelor’s degree to specialize in arts and musicology at the University of Toulouse. It was during her final year that she decided to cross the Atlantic and discovered her passion for musical composition at the Université de Sherbrooke.

Inspired by the wonderfully macabre aesthetics of Danny Elfman for the films of Tim Burton and Russel Shaw for the adventure game series Fables, her latest creations are tinged with a balance between the sweetness of fantasy and the strangeness of the unknown, while marrying the orchestral to electronics: L.A Noire, Follet, or Cœur de Glace who won the composition competition for the OSET in 2025. Recently, she also composes and arranges orchestral and epic works for adventure video games: Final Fantasy VII (Orchestre Checkpoint), Call of Victory, Warriors of the Mountains, Cyberpunk etc.

Beyond composition, his perseverance and commitment have led him to participate in several major projects in recent years: developing the Checkpoint orchestra founded by Francis Busque, composing the soundtrack for several short films including Spring (2024) in collaboration with Nicola Laflamme Ledesma, win the graphic logo competition of the Ecole de Musique at UdeS or give lectures on gender equality in music during the research project led by Ariane Couture. In 2025, she also played saxophone at the BAC end show, percussion in the UdeS Broadway orchestra, and as a soloist on the promotional video for Jacob Lefrançois’s new EP: Intelligere. She will soon play the electric bass during the performance of Terri Riley’s In C, at the initiative of Andrea Gozzi and the electroacoustic ensemble Lumi°e°res.

She will continue her career at the DESS at the Université de Sherbrooke, where she will collaborate with programmers and artists to create her own video game, which will allow her to integrate the entirety of her music and publish it on the Steam platform. Maybe you will be on this team?

Jesse Frank MATTHEWS — Chippawa Creek 2 (pond dub) (3:00 / 2025)

To be played in stereo

Jesse Frank Matthews has been playing music since the age of 16 in bands. He attended NSCAD University in 2003 and graduated in 2008. It was during this period that visual art and music formed a sincere bond in his work. Jesse is always looking for something genuine, organic, jarring and engaging.

Michael MCCORMICK — Sodas 2123: Improvisation (37:12 / 2024)

Edgy Palates is a Lithuanian experimental vocal trio that pushes the boundaries of vocal music, challenging traditions and redefining the power of the human voice.

In 2024, Edgy Palates collaborated with programmer and laptop performer Mike McCormick to present “Manipulation Charm,” an improvised performance featuring extended vocal techniques alongside digital synthesis and live processing. Mike performs using a “Nuther SuperCollider Frame Work” (NSFW), an extensive modular performance software written in the SuperCollider programming language.

Mike McCormick is an Oslo-based guitarist, laptop performer and composer originally from Yellowknife (Canada). Though his primary expression is through music performance, Mike’s creative output draws from a variety of disciplines, including conceptual and performance art, electroacoustic music, twentieth-century literature, and various notated and improvised music traditions. Besides performing regularly in ad hoc improvising and chamber ensembles, his active projects include the EIDOLON, an improvising algorithmic computer programme, the composers’ orchestra OJKOS, and his vivid depictions of human intimacy explored in the Proxemics project. In addition to composing for Proxemics, he maintains an active composing schedule with commissions from various chamber ensembles, often experimenting with the integration of improvised and strictly notated elements.

Hugo MENCHI — In Mãra (10:30 / 2025)

Let yourself be carried away into a state called In Māra, a journey through a dream of inner waters.

We plunge into a waltz punctuated by abrupt interruptions of discourse, where the imperceptible and the unpredictable invite us to inhabit the indefinite. The listener is projected into a timeless, floating, aquatic, and dreamlike space.

This piece explores a zone of friction between inhabited textures and ghostly gestures, where sound presences, both precise and intangible coexist. These sounds seem to weave a hidden, sensory language, a subtle and intuitive form of communication. Each responds to the other through non-verbal, sensitive gestures, as if reluctant to fully reveal their potential.

In Māra is an attempt to render audible an ever-shifting inner world, not fractured, but dynamic where balance arises from imbalance, like a vital pulse. An aquatic dream: alive, fragile, and infused with our myths, diffused through the folds of sound.

Hugo Menchi’s universe offers percussive sounds and rhythms that are both energetic and sensitive.

The human and sonic resonances that he carries with him, and that are dear to his heart, are felt in every performance, as a reminder of those truculent moments.

His curiosity and taste for discovering new atmospheres have enabled him to extend his experience on numerous stages in Europe, Africa and North America.

He also co-founded and set up the Insideout platform in March 2020. During the pandemic, it was essential for him to continue his research into this idea of exchange and workshops, where artists from all over the planet could, like him, stay connected and share this passion that is musical creation.

In this vein, he co-founded the SOAME Records label with Oxyde B, with the aim of delivering sonic journeys and letting go, while awakening our listening senses.

Traveling between live performance, immersive and spatialized composition, Hugo Menchi approaches music as a vast laboratory for research and escape.

He is currently deepening his practice with Martin Bédard at the Conservatoire de musique et d’art dramatique de Montréal, in the electroacoustic section.

Marco NERI — ɦieroPhony (5:10 / 2024)

ɦieroPhony is a computer-assisted composition for soprano, viola, piano and electronics.

The piece explores a fleeting moment in which the senses are overwhelmed by intense inner reflection. This idea draws on the concept of hierophany, introduced by religious historian Mircea Eliade. For Eliade, a hierophany refers to the manifestation of the sacred in everyday life—a moment when the ordinary is suddenly transformed by a sense of the extraordinary. Rather than invoking religious symbols, the piece conveys the sudden emergence of internal revelation through reflection and sound.

The composition begins with a field recording of a bustling street market, which gradually slows down until it becomes almost static. This recording is then meticulously deconstructed, with particular attention given to the timbral nuances of human voices and background sounds. Hundreds of micro-samples were extracted and looped into rhythmic patterns using digital sampling techniques. These loops, ranging from 5 to 80 milliseconds, emphasize sonic fragments that preserve a cohesive timbral identity.

To add further complexity, granular synthesis was used to construct harmonic textures that both complement and contrast with the rhythmic material derived from the original samples. The resulting sounds were then categorized by timbral characteristics and register to create a multi-layered structure.

To establish a cohesive interaction between electronics and acoustic instruments, the timbral features of the samples were translated into instrumental parts using a timbre analysis program. While the software provides effective approximations of pitch and color, its rhythmic output tends to be rigid and difficult to perform. In this composition, the instrumental lines are interpreted with rhythmic flexibility, allowing the performers to drift away from and rejoin the electronic track—creating a unique sensory experience in which acoustic and electronic elements are deeply interwoven.

Marco Neri does not believe in reality anymore; he believes in art. His spiritual-magical thinking has taken him to create all kinds of fictional and dreamy audio sceneries. His music continually switches between electronic and acoustic elements and seeks to motivate the public to enjoy the ecstasy of sound. His music has been presented in Mexico, Canada, United States, Belgium, Cuba, Spain and France. He has collaborated for more than ten years with various contemporary dance companies, notably Ideatracciones Danza. In 2013 he co-founded the Onepanko youth orchestra in Mexico City, participating as a composer and producer. In 2015, he started the ARStudio music label, where as Director he brought to life more than 50 recordings of concert music by young musicians. He is currently exploring film scoring, having so far collaborated with directors from France, Canada and Mexico. Finally, in April 2022, he obtained his Master of Music Composition degree from the University of Victoria.

Indigo OLSON — For Vazha (5:20 / 2025)

For Vazha is a point-source electroacoustic piece composed in 5.1 channels, based on the prose of Georgian poetry and the melodies of Georgian funeral rites, in particular the work of Vazha-pshavela. The piece was composed using piano samples matched to the pitch of the funeral rites, sound design generated using a custom Karplus-Strong synthesis engine in Max/MSP, and field recordings of wind chimes and rocks tumbling.

The piece is designed around a trajectory of “Martyrdom,” as elements gradually slow and coalesce around a funeral dirge, quicker gestures become sparser, and a solemn guitar melody leads us into a final, passage of grief.

Indigo Olson is a transfeminine musician, composer, and filmmaker who currently lives and works out of Tio’tia:ke / Montréal. Born in rural North Carolina, her composition practice is informed by an attachment to bluegrass music, “humanist music,” where the intent is to bring people together. She has presented various installation works and electroacoustic pieces in the city of Montréal and internationally. She is currently finishing a degree in Electroacoustic Studies at Concordia University.

Laurent PELLERIN — Huis clos (11:53 / 2024)

The expression “à huis clos” refers to matters discussed behind closed doors, without public admission.

In the context of this work, huis clos comes to represent an internal and personal territory, defined by the abstract boundaries of the psyche.

My work on spatialization allowed me to imagine and construct a flexible universe with dynamic, shifting dimensions—ranging from claustrophobic imminence to the vertigo of overwhelming vastness.

This psychic realm remains animated by erratic behaviors that seem to strive to escape the oppressive darkness surrounding them—unleashed fragments frantically fighting against their dissolution within the psychological abyss.

Laurent Pellerin is a composer and artist from Sherbrooke, currently based in Montréal. After obtaining a college diploma in jazz performance on piano and saxophone, he developed an interest in digital media composition and began a bachelor’s degree at the Université de Montréal, completed in 2025. His creative work seeks to establish interdisciplinary connections between music and other art forms (film, painting, literature) as well as the humanities (cognitive psychology, psychoanalysis, philosophy). Over the past three years, his compositions have explored both fixed and real-time formats, ranging from acousmatic music and videomusic to mixed media performances. As a freelance artist, his work also includes production, arrangement, recording, and mixing of both classical and popular repertoires.

David PIAZZA — Topologies d’intrication (video — 8:30 / 2025)

Musical systemics of the functional properties of parametric/gestural interdependency and listening networks. Transmedial dialogues aim at the emergence of a form through improvisation.

David Piazza is a composer and a student currently pursuing a bachelor’s in Digital Music at the Université de Montréal. His passion for fixed-media composition and real-time performance of electroacoustic works pushes him to envision ways in which both modes may converge so as to concurrently explore their potentials for musical expression.

Louis-Thomas PINEAULT — Entomorphérences (6:28 / 2025)

What do insects talk about? Do they have something to tell us?

Entomorphérences is an invitation to listen closely to the infinitely small. It is an exploration of how we listen, how we project meaning, and how we interpret the language of other life forms—while also questioning our tendency to humanize them.

By blending real insect recordings with sound textures that intuitively evoke their world, Entomorphérences explores the blurred boundary between perception and imagination. What intentions do we project onto them, and what do these projections reveal about ourselves?

Louis-Thomas Pineault is an electroacoustic composer currently studying at the University of Montréal. With a background in organic farming, his artistic approach is deeply rooted in his connection to the land, shaping the themes he explores in his work. Drawing on field recordings and meticulous sound design, he crafts immersive sonic narratives that reflect a profound sensitivity to the natural world. Through his compositions, he invites listeners to contemplate the intricate relationships between humans and other living beings, as well as the environmental challenges we collectively face.

James PLAYER — Camino de Santiago (10:39 / 2025)

Camino de Santiago is an 8-channel soundscape composition created from field recordings gathered while walking the Camino Portugués from Porto to Santiago de Compostela. The work is both a sonic journal and a meditation on movement, memory, and shared experience, exploring the interplay between physical space and inner space, presence and reflection.

James Player is a fourth-year Electroacoustic Studies student at Concordia University in Montréal. His creative practice spans multichannel composition, sound for video art, and experimental performance. While much of his recent work explores immersive spatial audio and environmental field recording, he remains rooted in his background as a guitarist, with a particular interest in free-form improvisation.

Kasey POCIUS — On The Edge (video — 14:00 / 2024)

On the Edge is an audiovisual work for video, T-Stick and surround sound. This audiovisual work explores sounds and images of objects often on the edges of our perceptions, as well as processing and results from edge cases in musical algorithms and technology.

This piece was composed for Sound Symposium XXI, and partially composed in residency at the Memorial Electroacoustic Research Laboratory (MEARL). A big thank you to the Sound Symposium Team for the video capture and stereo mix, to Andrew Staniland at the MEARL for the working space and technical support, and to Albert-Ngabo Niyonsenga and my colleagues at the Input Devices and Music Interaction Laboratory (IDMIL) for their ongoing work on the T-Stick.

Originally from St. John’s (Newfoundland), Kasey Pocius is a gender-fluid intermedia artist located in Montréal who grew up experimenting with multimedia software while also pursuing classical training in both viola and piano. Outside of fixed electronic works, they have also pursued mixed-media performances with live electronics, both as a soloist and in comprovisatory collaborative environments. They are particularly interested in multi-channel spatialization and how this can be used in group improvisatory experiences. Kasey is a student researcher at the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) and Input Devices and Music Interaction Laboratory (IDMIL).

Des Cendres RIVIÈRE — Eskers (8:45 / 2025)

The frozen heart of a hill draped in sphagnum
A mountainside slowly turning to liquid
The endless lattice of polygons shaping the tundra floor

I think constantly of the North as I listen to the lake thaw at my parents’ place.
I hear the creaks of the tin roof on the upholsterer’s shed — an odd name for the little cabin — where we store the new snowblower, grandpa’s old tools, the stoves for cooking big batches of rillettes, the hand drill for boring holes in the lake come winter, and a thousand other objects waiting to be sorted through.

Late February, early March — the sugaring season begins, and a light rain falls.
I wonder whether I should stay on the dock to record, or if the ice is strong enough to let me set my hydrophones farther out.
I think of the glaciers on Ellesmere Island and wonder if I’ll ever get the chance to hear them — slowly slipping toward the sea.

Half-human, half-frog, Des Rivière is a multidisciplinary artist based in Montréal, whose work revolves primarily around ambient music, the more-than-human, and the various forms of obsolescence that musical tools can take. Blending synthesis, soundscapes, and magnetic tape recordings, they create chimeric sound worlds that bring to life hidden creatures and attic-dwelling relics.

Trained as a wildlife tracker, forager, naturalist, and enthusiastic field recorder, a large part of their work centers on sound ecology and the observation of systems that shape our listening, along with scientific outreach.

A pianist and harpist since early childhood and now an electronic composer for over a decade, they followed a classical music path into adulthood before moving into the digital music program at the Université de Montréal to broaden their skill set.

This shift led them to a hybrid practice combining instrumental, electronic, and field recording elements, in which they alternate between creating slow music that encourages deep listening, club music, performative installations, and various collaborations with visual artists.

AC RIZNAR — sédiments (video — 6:00 / 2025)

He came out, and all I could do, at that moment, was feeling the terror paralyzing me. I recognized him right away. I don’t remember having a choice, and above all, I didn’t know. It took me years to recognize these sensations, and now everything seems crystal clear. I recognize you, you are there. You are part of me, you stay there, without blinking in front of the thousands of things that go through me.

AC Riznar is a Montréal based musician, composer and visual artist. Singer-songwriter, they’re also studying mixed media in the department of digital music at University of Montréal. Mainly interested by dream-like narratives, involving superposition and loops, while encouraging intuitive creative process.

Nick RYAN — 6 mini sound installations for the rooms in your house (video — 6:28 / 2021)

“As a child I had wanted to become an automobile, but then I grew up to be thirty years old.” — Russell Edson

Filmed at the artist’s home during the covid 19 pandemic, 6 mini sound sculptures for the rooms in your house explores the hidden musical and sonic potential of everyday household objects.

The 6 minute and 28 second video consists in 6 vignettes ( and 1 epilogue) each set in a different room of the artist’s home and featuring a different sound sculpture made from objects native to that room. Deliberately low-tech and easy to reproduce, each vignette invites the viewer to see familiar consumer goods as potential musical instruments and as such democratizes the act of musical creation—making its necessary materials household supplies nearly accessible to everyone.

Of the work, the artist has said: “6 mini sound sculptures… represents my attempt to use play, imagination and humour to deal with the monotony, restrictions and isolation of the pandemic. Yet despite my efforts to keep things light, the absurdity, tension and frustration many of us felt during that time also creeps into the work, in various subtle ways.”

Nick Ryan ( N.M. Ryan) is an interdisciplinary artist and composer based in Montréal, Quebec. His installations have been presented as part of Tenor Notation, Art Matters, Suoni del Popollo, Vivier Interuniveristaire, Ultrasons and 21st Century Guitar. His compositions have been performed by the Bozzini Quartet, Instruments of Happiness, the Canadian Guitar Quartet and the Motreal Metropolitan Orchestra.

He is currently completing a master’s degree in composition and sonic creation at the Université de Montréal.

Alejandro SAJGALIK — Warp Siege (8:40 / 2025)

An alchemical depressurization. Fine incisions coil upwards, and warped sounds exhale through point valves. Spectral threads gush and cascade into rhythmic fissions, piercing an infinite vacuum.

Alejandro Sajgalik is a choreographer and composer. He creates worlds where the body confronts contemporary metaphysical uprootedness and the power of technology. Trained in architecture, he develops a hybrid approach combining dance, electroacoustic music, scenography, and narratives inspired by mystical epics. In Montréal, he first presented three solos: N’importe où hors du monde (2018), Cantos para los insaciables (2019), and Materia Prima (2022). In 2024, he created Nova Express, a futuristic odyssey where six performers navigate the emergence of a new world aboard a raft made from the wreckage of a pipe organ. A recipient of the Québec/Bassano (Italy) choreographic exchange program, he also received an award for his sonata Novae I in the CEC’s Jeu de temps / Times Play competition. His works are supported by the Canada Council for the Arts, the CALQ, and the Conseil des arts de Montréal. He is currently studying composition at the Conservatoire de musique de Montréal, in the class of Louis Dufort.

Michele SELVAGGI — Quondam, Apparatus (16:30 / 2023)

Quondam, Apparatus was written for the [*removed for anonymity*] in collaboration with the Museum Tinguely. The conceptualization of this work emerged as both a continuation of my exploration into the concept of sonic entropy — a direct perpetuation of a series of works I have been creating for the past year — as well as a newfound investigation into acoustic recreations of real world environments; in this special case, I was seeking to recreate the kinetic machines of Jean Tinguely. Before beginning with the piece, I was given various recorded samples of machines, courtesy of the Museum Tinguely, each with their own individual character. I ordered these recordings in space based on their entropic relation to one another — taking into account the spectral content, sonic structure, and complexity of each entity — making, in essence, a machinic web through which the work was to travel.

The machines exist as singular beings in the museum itself, intended to be listened to individually and in succession; I wanted to take each entity out of context temporally and in the material sense, placing each within a larger, saturated conglomerate that growed, stretched, and evolved in complexity over time. Often, the inner movements of the machines are explored in detail, represented by instruments, or revealed through acoustic filtering. Seven transducers attached to different portions of the piano and to different percussion instruments allow for only certain components of the machines to enter the ensemble space; this form of acoustic filtering allows each machine to be transformed by the instrument itself, where it can then be doubly re-interpreted by the live instruments and objects. In addition, a live Tinguely Machine becomes its own player within the sonic scheme, working in tandem with the existing ensemble/electronics cloud — already fluttering and undulating with mechanical micro-movements — to create a supposed hyper-machine. The idea of gradual transformation in this work mirrors the ongoing conversation regarding how certain mechanical technology has changed, holds up today, and how such will change in the near future as further developments are made in the field of mechanization and industrialization.

Three-time SOCAN Composer Award Winning composer Michele Selvaggi hails from the heart of downtown Toronto with strong Southern Italian roots and is currently based in Basel as a postgraduate student and freelance musician. Concerned deeply with the physiological and perceptual experience of music, notably driven by their own existential confrontation with time’s passage, Michele’s experimental work is intensely coloured by influences from their earlier engagement in the natural sciences, resulting in noisy sonic topographies and detailed electroacoustic environments that are often shaded by their daily life living with demanding anxiety and OCD. Just intonation, feedback systems, and soundscape are but a few ongoing fascinations that unusually tinge their approach to sound.

Michele has both received commissions from and recurrently collaborated with organizations scattered across Europe and North America, including the impuls Festival—at which they have premiered three chamber works—UdK Berlin, Museum Tinguely, Redshift Music, Arraymusic, Kamratōn Ensemble, the Eastman School of Music, the Canadian Music Centre, and the Canadian New Music Network. They were the resident Lead Composer for Green Room Sound Collective’s spectral-multimedia installation, “The Gallery”. Michele has also been the recipient of over 20 awards and prizes including SOCAN Foundation Composer Awards in both Chamber Music and Electroacoustic Music, the 2020 winner of Eastman School of Music’s 2020 International Call for Scores, as well as the Residency Prix CIME 2021, resulting in a fully-funded residency at the SME AMKP Studio for Electroacoustic Music in Krakow. Their music has been included in the 2024 Canadian Section’s official submission to World Music Days, shortlisted for a 2022 Red Jasper Award, and led to nomination for a 2021 Rhodes Scholarship.

In their most recent work, Michele has developed a body of research that explores what they coin as “sonic entropy”, culminating in a prize-winning thesis on Entropic Drift in musical systems at the Musik-Akademie Basel, which strove to unify the realms of arts and natural sciences by elaborating on their own scientifically-informed style. They are currently completing a series of 8 electroacoustic pieces commissioned by Basel-based performers, funded by the Nicati — de Luze Foundation.

Michele holds a Bachelor’s in Music Composition from the University of Toronto, as well as a Master’s in Music Composition from the Musik-Akademie Basel. They have studied primarily with Norbert Palej, James Rolfe, Bekah Simms, Darren Copeland, Casper Johannes Walter, and Volker Böhm, as well as taken lessons and masterclasses with Raven Chacon, Clara Iannotta, Chaya Czernowin, Francesco Filidei, Pierluigi Billone, Mark Andre, and Stefan Prins.

Justin TATONE — XIV. Concord 1 - 5 With Concordia Laptop Orchestra (Stereo) (22:15 / 2025)

Concord is an exploration of coexistence: conceptually, sonically, and spatially. The composition investigates how divergent sonic elements can share space without collapsing into sameness, inviting the listener to engage with difference not as conflict, but as layered presence. The concept of coexistence is woven into every dimension of the piece: extrinsically, through spatialization (diffusion), cultural context, and semantic meaning; intrinsically, through the compositional elements themselves: tones, rhythms, phrases, and gestures that reflect coexistence. The field recordings function not only as sound material but also as semantic anchors. Concord is overtly political. The inclusion and transformation of protest sounds situate the piece within a discourse of civil disobedience and sonic disruption. Concord expresses its commentary not through direct statement, but through form: through the coexistence of materials and perspectives that might otherwise seem incompatible; disgruntled students and their institution, a sine tone and its slightly detuned double, all on the same path towards a concord, or a consonance, much like the first and final gestures of the piece. Ultimately, Concord is a space where conflict and harmony are not opposites, but cohabitants. It is a work about deep listening: to protest, to transformation, to tension, and to the quiet possibilities of nonviolence. Coexistence, here, is not about resolution, but about holding space for contradiction, for disruption, and for the uncertain beauty that emerges when things are allowed to be together at the same time, not killing each other.

Canadian composer and sound artist TATO’s (Justin Tatone’s) practice is rooted in Sonic Biomimicry, using sound synthesis techniques to create sonic representations of nature using non-natural materials. Concepts of indeterminacy, generative systems, and improvisation are central to this process.

Through these methods, he explores seemingly organic textures with synthetic materials. Working across sound, image, and procedural media, TATO builds environments that interrogate how technology interprets, distorts, and abstracts nature. His practice critically engages with machine learning aesthetics, recursive processes, and the flattening tendencies of automation. TATO’s multimedia approach bridges disciplines while maintaining a consistent focus on the ecological metaphor and nonviolent disruption and how control, decay, and illusion are at the intersection of those.

The primary tool for his composition is his Eurorack modular synthesizer system, which he designed in 2022. This advanced system allows him to engage with sound on a deeply structural level, incorporating electroacoustic techniques such as real-time manipulation, field recordings, and digital processing. His work is marked by a commitment to both technical innovation in biomimetic sound and the intention of creating environments that react and are alive but have no real agency. This interest in artificial nature, shaped in part by an art world captivated by Al enthusiasm, which he views as an illusory refuge from the violence of the real world threads through his work. Themes critiquing both the use of violence as a tool for social change and the complacency toward violence emerge, reflecting his commitment to nonviolent disruption as a core mechanism for meaningful transformation and the foundation of his philosophy. TATO’s academic background in Electroacoustic Studies at Concordia University, coupled with mentorship from figures like double platinum-selling producer and songwriter Joe Segreti and experimental composer Adam Basanta, has further shaped his dual expertise in both commercial and experimental music. This combination of influences allows him to navigate and contribute to both the commercial music industry and the avant-garde.

TATO has composed for live ensembles like the Concordia Laptop Orchestra and his experimental electronic ensemble BEWELL. His interest in building natural environments unfold in dynamic, real-time contexts as well as the studio. Additionally, his contributions to film sound design and composition have been recognized in award-winning projects, including Coller Pour Crier, directed by Éléonore Delvaux-Beaudoin. This film received accolades at prestigious events such as the Fantasia Festival, Festival Filministes, and the Intercollégial de cinéma in Rimouski, Canada. In addition to his film work, TATO has contributed sound design for commercial advertisements and worked on albums for local Montréal artists. He is also the founder and director of BASTION, a hip hop collective established in 2022, where he continues to play an active role in the creative direction and production.

Through these endeavors, TATO was honored with the Hugh and Trudi Le Caine Award in Electroacoustics (2024) and the Alain Thibault Award in Electroacoustics (2024), and the Robert Daniel Ball Memorial Award for Music (2025). In 2025, TATO was invited to the 23rd International Image Festival in Manizales Colombia. This trip, sponsored by Concordia University and Peter N. Thomson Family, provided TATO the space and resources to complete his album HYPERPHANTASIA. The contemporary-electronic collection of compositions which explore intrusive mental imagery, particularly around violence, existential anxiety, and catastrophic scenarios, showing TATO’s artistic process of translating these internal visions into sonic experiences through sound design. After presenting the work at the International Image Festival, receiving critical feedback internationally, TATO took the work back to Montréal where he would finish the documentation and publish the work along with a collection of essays he wrote while composing the Album.

Aurélie THÉROUX SÉNÉCAL — Je meurs en français, merci (4:03 / 2025)

Je meurs en français, merci is an electroacoustic work in four movements, each anchored to a pivotal referendum moment in Quebec’s history. Tied to the seasons, these movements convey, through sound, the cycles of hope, chaos, weariness, and resistance.

The piece draws on performance sequences, archival recordings of political speeches, and an original poem to brutally deconstruct sovereignist narratives.

It is not an elegy, but a raw, guttural cry.

Independence is not dead — it chokes, half-swallowed in our throats, every time we choose silence.

Aurélie Théroux Sénécal
Grand Fille

Grand Fille is the electroacoustic project of Aurélie Théroux Sénécal, a sound artist who challenges the boundaries between sound and politics. Using no-input systems, industrial noises, and manipulated voices, she creates intense and abrasive music, far from any notion of fragility. Her work explores dynamics of power and resistance, seeking to unsettle listeners with provocative textures and compositions that carry a strong political charge. On stage, Grand Fille delivers raw, compelling performances where electronics become tools of revolt and critical reflection on contemporary social issues. Grand Fille’s music is a call for sonic reclamation and the affirmation of a dissident voice.

Clarence TREMBLAY — Bathroom Blues (3:22 / 2025)

I wanted to work with prompts I don’t typically use, pushing myself out of my comfort zone to create something that could stand on its own as a soundscape. A soundtrack that requires no visuals, something that can be experienced independently, allowing the listener to fully engage with my portfolio without the need for any additional media. The piece began with a recording of a velvety piano tune. The setting and the quality of the keyboard used for this recording created an interesting contrast as the tone of the notes were round and polished, yet there was a harshness due to the poor quality of the keyboard’s speakers. Embracing this contrast, I chose to manipulate the same recording by speeding it up and applying flex time distortion, resulting in electric-current-like noises. To further emphasize the theme of contrast, I aimed to create a distinct sense of space. I designed the sound environment as if the listener were in a bathroom (a personal and reassuring space) while overhearing a fight outside of the room (an impersonal and unsettling disturbance). This interplay between intimacy and disruption adds depth and intentionality to the piece, reinforcing its central concept of duality and contrast.Live piano recording with a Shure SM58. The piano is not directly plugged into the soundcard as to have the effect of the blown out keyboard speakers.

Live sound effects recordings with a Shure SM58 of water boiling, turning on a fan, a person walking, people talking from another room, a person talking in a towel, water flushing, and inside a metro station.

My love for soundtrack creation began in high school, where I made strange short films that required even stranger music. Later, while studying film production at Dawson College, I became deeply invested in composing soundtracks. I loved making them not only for my own projects but also for my peers. Sound design quickly became my favorite part of the process of film production as I discovered the power of a well-crafted soundscape could transform anything into something larger than life. Over time, I expanded my practice beyond soundtracks, dabbling in foley work and experimenting with sound production techniques. As a musician, I find the most joy in blending melodic elements from traditional music recording with the unconventional textures of electroacoustic.

Hugo TREMBLAY — amalgame (20:54 / 2025)

Contemplation of the sonic impact of internal combustion engines — in this case, airplanes — in a reverberant environment. The idea is to allow us to hear all the micro-repercussions of an airplane’s cry, until it fills a given space… with noise. From the explosion (x’) to the cry (n), from the cry to the multiple complaints (Hn), from complaints to noise.

Given that we may have a duty to collectively denoise our environment, I momentarily transversed the pseudo-noise (formed from 1024 simultaneous sinusoidal waves) into a post-harmony tense between reminiscence and chaos. Here’s a “path of reflexion” to ponder once we’ve come back down to earth…

Created for the Audiotopie concerts (Essaimage).

Z VINHEIRAS — 0 (video — 3:45 / 2024)

On the tension between time and space, space and non-space, being and not being and, perhaps, the tension of being born.

Perhaps a full cycle.

Improviser, listener, walker, DJ, writer, crafter, nomad.

Keith WECKER — Heavy Gestures (6:32 / 2024)

The track was inspired by the Rothko Chapel works by Morton Feldman and the scholarly writings of Michel Chion in Audio-vision. Expanding on my interest in phenomenological experience of immersive sound, I was inspired by the way Feldman’s compositions affect every corner of the space you are experiencing it in. Using a generative synthesis script installed in a Norns Sound Instrument, I layered these spontaneous tracks as my own version of Feldman’s indeterminacy. To further this experiment, I created MIDI tracks from the spontaneously recorded tracks and played them through three different synthesis settings that I had designed in Logic. My generated lines were balanced out by a sampled Moog 55, and then interspersed with piano and saxophone to add a narrative sensation.

Heavy Gestures began as a project focusing on sound design and experimenting with electronic music production techniques in the studio. The foundation of this track began with recording several generative sound fields produced through the Lights script for the Norns Sound Instrument. The generated audio was used as both a sound source and a MIDI note generator. While this generative script allows for some level of control I left the settings that were already on there, curious to see the resulting recorded output. Deciding on three separate tracks I utilized Logic to use the recorded material as both the sound sources and to provide MIDI notation for three additional synth voices I had designed. I sculpted the MIDI notes on the piano roll to play in a more effective manner with my sound design, as I had increased the attack on several presets to keep within the atmospheric zone I was working with. The low end needed some attention which ended up being sampled from a Moog System 55 at the studio I was in. After adding improvised piano and saxophone, I began to finesse the piece through the use of mixing and post production. I view these techniques as an extension of the compositional process, taking a sculptural approach to this part of the compositional process. I like to approach sound in this sculptural manner because I feel like this methodology is about the process of revealing the track that is inside the mass of sounds, something I believe that can be heard on the final outcome of this piece. While created initially as a stereo track, Heavy Gestures was the catalyst behind a move towards multi-channel work and spatialization techniques resulting in the Willard North Research award at the University of Central Missouri and a two week artist residency at Lobe Studios in Vancouver, BC, Canada.

Keith Arthur Wecker, (b. 1983) is a composer, improvisor, and multi-instrumentalist using technology to explore the timbral and temporal properties of granular synthesis in the creation of electroacoustic music. Keith puts a focus on bringing the in-between sounds to the forefront through a layering intensive process, creating rich sonic textures that evoke a meditative sonic environment for the listener to immerse themselves in.

His personal approach to sound creation is highlighted by the diversity of the acts he has shared the stage with (Tim Hecker, Clark, Sumac, Thundercat, Wolf Eyes, Six Organs of Admittance, Goblin, Lori Goldston and Sun Araw) as well as participating in projects of Anthony Braxton and Glenn Branca. Keith has had his music featured across North America, including multiple appearances at the Vancouver International Jazz Festival, New Forms Festival, VU Symposium and Improvisors Summit PDX.

Maintaining a rufous dedication to continuous learning, Keith utilizes both traditional and non-traditional educational systems. Having received his MA in Music Technology from the University of Central Missouri in May of 2025, he has also participated in artist residencies and alternative schools across North America, including the School for Poetic Computation and re.foresters lab (NYC), Lobe Sound Studios (Vancouver), and Lightbox Performance (Detroit).

Robert Jackson WHITE — 8.244 (5:39 / 2025)

Inspiration for this piece comes directly from the instruments of the electroacoustic department at Concordia University, and the many hours the composer spent working in Concordia University’s music studio 8.244. It opens with rhythmic phrases played on strings and metal compartments of a custom instrument called the “Primordium”. It is an active acoustic sound table equipped with piezo-electric microphones, composed of piano strings, bolts, metal rods, small nails, sandpaper with various other parts and textures. It can be activated with fingers, sticks, brushes, guitar picks etc. As the music progresses, sounds and phrases from the studio’s modular synthesizer join in and begin to interact with the opening acoustic sounds. By the end of the piece the two streams attempt to merge by creating an active drone which is the synergy of acoustic and electronic sounds.

The electronic sounds were created with the studio’s modular synthesizer which is a mixture of modules from Make Noise and Mutable Instruments that are augmenting the original pure Doepfer system from previous years, truly a fun and wonderful instrument to play. The evolution of this synth over the past few years has been guided and crafted by both students and instructors of Concordia’s Music Department. The intention of the piece is to merge the two worlds of acoustic and electronic sources and explore the small details that the collisions and layers of sound the Primordium and synth can create.

Darren XU — (Absent) Expressions (4:55 / 2024)

This piece explores another side of expression where instead of blatant and astounding displays of disagreement and grief, more subtle and quiet voices are given more light. These soft sounds may seem undiscernible at first, but they eventually grow and gain presence.

Chinese Canadian composer Darren Xu is currently a PhD student at the Royal College of Music, where he recently obtained the Artist Diploma in Composition. Recently he became Toronto Symphony Orchestra’s NextGen Composer and is commissioned for a piece to be premiered by the TSO in November 2025. He enjoys writing music for acoustic instruments, films, and cross-disciplinary collaborations. He has had the opportunity to work with various groups, including Standing Wave, the Wallace Collection, English National Ballet School, Roadrunner Trio, Barcelona Modern, Piano-Erhu Project, TorQ Percussion Quartet, VICO, and Trio Immersio. His first orchestral composition, To Liberate, was premiered by the WSO at the Winnipeg New Music Festival, and was subsequently read by the VSO. His film score, Stargazer, was awarded Best Score by New York Film Awards in November 2018. He received his BMus, BCom, and MMus at University of British Columbia.

David YI — When Echoes Speak (4:59 / 2024)

This composition features both virtual instruments and live-recorded instruments. It starts with a mechanical winding sound, which I recorded from a clicker; the sound then morphs and becomes the rhythm session of the intro. The mellower bridge section is a tribute to the theme song of the animated series Rascal Does Not Dream, followed by a more rhythmic, aggressive-sounding recap of the original theme. The final section is 75 seconds of polymeter fun with the left, middle, and right channels in three different simultaneous meters (7/8, 4/4, 5/8). Each meter eventually gets two different instruments on top of the claps, including cajon, tambourine, and also a box that came with one of my whiskey bottles, building up to a thick, complex timbre.

Current music major at Queen’s University, performance and composition student.

Ben ZOENA — Arpeggio (8:26 / 2025)

Arpeggio is a personal exploration of the tension — and harmony — between electronic dance music and electroacoustic experimentation. Coming from an EDM background, I wanted to see what would happen if I treated melody and synthesized sound not just as hooks or motifs, but as evolving textures and structural forces in a more abstract framework. If it’s a crime to make melodies, then I chose to commit it boldly.

The creation process began with deep excavation: I combed through over 5,000 samples, presets, and randomized MIDI sketches from my personal library to build a toolkit of pre-synthesized material. This toolkit became the raw clay for the piece—layered, randomized, and shaped in unpredictable ways.

While composing, I recorded MIDI using my computer keyboard, often relying on custom and found presets. One particular arpeggiated line stood out and became foundational, filling out the frequency spectrum in a way that demanded attention. I made an intentional choice to leave some early effects—like reverb—printed into the stems before arranging, allowing for unconventional blends of space and texture.

A key turning point in the project was my transition into Logic Pro, where I used surround sound tools to spatialize the elements in 5.1. By embracing surround panning—spread, angle, and divergence—I was able to push the movement of sound beyond stereo constraints, turning the mix into a spatial choreography.

Arpeggio represents a step in my journey to fuse the visceral pulse of club music with the open-ended potential of electroacoustic composition. It’s a warped dancefloor—fragmented, immersive, and unpredictable—where randomness becomes structure, and melody becomes texture.

Ben Zoena is a Moroccan-Canadian sound artist and music producer based in Montréal. He is currently pursuing a BFA in Electroacoustic Studies at Concordia University, where he explores the emotional and spatial dimensions of sound through both structured and freeform compositions.

With roots in Dutch house, bass house, and the high-energy aesthetics of EDM, Ben brings a rhythmic, club-driven sensibility to the electroacoustic realm. His work seeks to marry the physicality of electronic dance music with the textural depth and a-temporal qualities of experimental sound art. Using synthesizers like Serum, Nexus, and a range of digital audio workstations, he constructs layered sonic environments that blend melodic tension with abstract form.

Ben’s artistic vision bridges the synthetic and organic, the rhythmic and the disjointed—crafting experiences that are both visceral and contemplative. His work often invites listeners into immersive worlds where beat and texture coexist, dissolve, and reemerge.