you’ve heard of the term “trifecta,” right? it means a run of three wins. a trio of golden moments that occur together, one after the other. a perfect group of three. in this case, trifecta means rusty faders, ewerx, and diagraf. it means the meeting point between audio, visual, and visceral: orbital mechanics.
there’s something to be said about coming home. countless words have been written about it: it’s “where the heart is.” “there’s no place like” it. nothing has emphasized the truth of these statements quite like returning to montreal for mutek, the annual digital arts and creativity festival that takes place around the quartier des spectacles/place des arts at the end of may. this year, the lineup boasted an incredible roster of local and international talent. not only was it deeply special to witness some of my close friends taking the stage this year, it was even more moving to find myself surrounded by all my favourite people in the world, dancing to the best music, all with the same smiles on their faces. coming home doesn’t get any better than that. Continue reading
when i ask montrealer jesse morrisson if he’s a dreamer or a realist, there’s a long pause before he answers, “both. i tend to keep things grounded but i’m definitely a dreamer, too.” the same can, i think, be said for his music. the first time i heard jesse play live as fake_electronics, it was a journey. in the basement of the mac in montreal during the 2014 mutek under low lights, jesse delivered a hand-crafted set built entirely around the randomness of the modular synths he works with. such a tactile approach lends his music an honest edge; there’s something genuine in his sound. that’s not to say that it’s straightforward, though — jesse’s right when he calls himself a dreamer, too.
mutek has always been the kind of festival you experience with your whole self. you don’t go to mutek to simply hear music, you go to mutek to listen. you don’t go to mutek to watch visuals or art installations, you go to mutek to see. mutek is an anomaly in that way; one of the few festivals where you’re acutely aware that everyone is present for the same reasons, and it all boils down to a love of music. when the opportunity to attend the 6th annual mutek es in barcelona, spain, arose, i couldn’t pass it up. needless to say, mutek es was an experience for all five senses — being in a new city often does that to a person. the music was absolutely stand-out incredible, the visuals were captivating, and the people were warm, grounded, and welcoming. a good analogy for the festival as a whole. here are the ways i experienced mutek barcelona.
it was early 2011 when i first shyly toyed with the idea of starting a “blog.” it was around the time that the word “blog” didn’t have exactly the same connotation as it does today. blogs were “the cool thing,” and no one rolled their eyes at you when you proudly declared that you were writing one. in 2015, though, the word “blog” itself is enough to make me cringe. following our continuing obsession with portmanteauing everything — mockumentary, liger, brangelina, affluenza — the “blog” is in itself one of those sad words you can’t help but be embarrassed to say out loud. but in the beginning, the timidity wasn’t for the word but for the thing itself.
it was years, literally years, before i was able to talk about this thing called littlecity without the obligatory nervous laugh or sheepish grin. it’s funny how hard it can be to talk about these things that we’re passionate about, the projects that we pour our hearts into, the goals we stop at nothing to achieve. i have brushed off littlecity like it wasn’t one of the most important parts of my life. i have smiled and blushed and rolled my eyes when others have talked about littlecity in praise. it was easy for me to talk about anything else, other than this thing that, some days, i wake up for in the morning.