Electrochoc

The Electrochoc concert series, presented jointly by the Conservatoire de musique de Montréal and Akousma,

is a series of concert-discussions that introduces audiences to different aspects of electroacoustic music. The concerts also showcase the talent and creativity of the students invited by Martin Bédard and Louis Dufort (the series’ two artistic directors) from their composition classes.

2025-2026 Season
Électrochoc no 1:  Hommage à Luciano Berio / Tempo Reale - October 23, 2025
Soundwich XXI - November 6, 2025
Électrochoc no 2: Nicolas Bernier  - December 11, 2025
Électrochoc no 3: France Jobin - January 22, 2026
Soundwich XXII - February 19, 2026
Électrochoc no 4: Florence-Delphine Roux / Audréanne Filion - Mars 26, 2026

Victor Drouin-Trempe

Researcher and professor, Victor Drouin-Trempe is currently pursuing a PhD in Art Studies and Practices at UQAM. Inspired by the notion of “living sound,” his work combines algorithms, modular synthesizers, and sounds from nature to create “sound creatures.” He regularly presents his work in Québec and internationally.

Also known as v.ictor, he produces electronic music inspired by microminimalist aesthetics.


Programme
Tout comme les taupes 10’32’’
This piece emerges from research into sound synthesis and attentive listening to micro-events. By combining micro-sounds and diffuse textures using custom-developed virtual synthesizers, the artist explores unstable sonic forms, favoring states, transitions, and variations in density over narrative or spectacular gesture.

Jean-Patrice Rémillard

Jean-Patrice Rémillard, known as Pheek, is a Montréal-based electronic artist active since the late 1990s. His work sits at the intersection of minimal techno, ambient, and sound experimentation, with a strong focus on texture, dynamics, and the movement of sound over time.

In performance, Pheek favors a living, organic approach: open structures, modular systems, and repurposed digital tools are used to create pieces that evolve in real time. Each performance becomes a space for exploration, where detail, imperfection, and attentive listening take precedence over technical display.

Alongside his artistic practice, he works as a sound engineer, mentor, and curator, supporting many artists in their creative and technical development. His music, like his performances, is rooted in a search for depth, presence, and connection with the listener.

Programme
Format de la pièce: Kunmeti 26’00’’
The piece presented is a semi-improvised performance, premiered under the name Jean-Patrice Rémillard rather than Pheek. Although the two practices intersect, this performance is more strongly oriented toward immersive listening, with textures that encourage more harmonious, meditative moments.

At a time when society is saturated with disposable music, the time devoted to listening becomes sacred and essential. The delicacy of the sounds evokes the natural movement of the forest, while drawing on electronic sources generated through simple repetition and manipulation, in an effort to recover a sense of comforting simplicity.

Mimi Allard 

Mimi Allard is a sound artist whose practice focuses on “body–system” relationships within a live performance context. Using custom-built instrument-systems, she creates connections between sound, movement, code/text, and minimal visual elements.

Inspired by the somatic dimension of the body, her work explores notions of memory, feedback, and sensory storytelling. Mimi is currently a master’s student in Composition and Sound Creation at the Université de Montréal.

Programme
Mémoire fantôme I  [A/V] 9’30’’
Modular synthesizers, Mosaïque, Max patches, RAVE/nn~, TTS, computer-generated imagery.

The essay-performance Mémoire Fantôme I is a poetic exploration of the continuum between memory and speculation. The piece maps regimes of memory spanning archives, future projections, and data hallucinations, revealing their entanglements and ambiguous intersections.

A synthetic voice device acts as a philosophical agent at the core of a media assemblage that evokes the genre of the desktop documentary. Rooted in the artist’s research on instrument-systems and living contexts of sound creation, the work stages the computer desktop as a site of research, performance, and real-time dissemination.

Quantum entanglement or just “entanglement” is a phenomenon in which two particles form a linked system, and exhibit quantum states dependent on each other regardless of the distance between them. Such a state is said to be “entangled” because there are correlations between the observed physical properties of these distinct particles. Bell’s theorem shows that entanglement gives rise to non-local actions between the particles.

Thus, two entangled objects O1 and O2 are not independent even if separated by a great distance, and we must consider {O1 + O2} as a single system.

I created two albums, perceiving them as systems, within which these albums (particles) depend on each other no matter how far apart. From the perspective of my project, distance is time. States and physical correlations will be represented by the fact that a first album produced will be dependent on the second so that the two albums must be listened to simultaneously, therefore the two albums will be considered as a single system and referencing the principle of nonlocality.

Programme
1. Instantaneous knowledge (18’18)
Publié sur Erototox Decodings

2. Unified quantum state (18’18)
Publié sur ROOM40

3. Instantaneous knowledge et Unified quantum state (18’18)

Bio
France Jobin is a Montreal-based audio artist and film composer. Her work, often described as “sound sculpture,” is characterized by a minimalist aesthetic that explores complex sonic environments at the intersection of analog and digital realms. Her installations integrate visual and musical elements inspired by the architecture of each site. Audiences can experience her concerts and installations in a wide range of non-traditional spaces and international new-media festivals.
She has released numerous albums on renowned labels such as LINE (US), ROOM40 (AU), No-ware (CL-DE), Editions Mego (AT), and ATAK (JP).

Although her music frequently expresses notions of restraint and subtlety, it does not shy away from extremes. Her skillful interplay between high and low frequencies, amplitude and silence, creates a complex narrative that unsettles the listener’s perception and continually refocuses their attention.

Since 2008, quantum physics has deeply influenced her artistic approach. The pandemic offered valuable time to expand her scientific and artistic research. In 2021, she launched the Entanglement series with Markus Heckmann at MUTEK through an AV performance. This was followed by Entanglement XR (2022) and Entanglement Dome and film, created in 2023 at the SAT. Lueurs Quantiques is their latest work, presented at MUTEK in 2025. In September 2025, she presented La fluctuation du vide at Sporobole, following a year-long residency at the Quantum Institute of the Université de Sherbrooke.

 For this carte blanche to Nicolas Bernier, the artist invites you to spend an evening in the company of his fantastic guests: Mélanie Bourassa on bass clarinet, Myriam Boucher on audiovisual cocreation, and David Caulet on saxophone. Common to all three duos will be Bernier's modular synthesis.

In recent years, after a decade devoted primarily to audiovisual projects, Bernier has refocused his practice on instrumental performance. Largely improvised (or “comprovised”), the music of the three duos is sure to fill the Conservatory's multimedia room with distinctive sounds.

Program
1 • Super scintillant (25 minutes)
Music infused with a certain mysticism. World premiere.

Mélanie Bourassa : bass clarinet
Nicolas Bernier : modular synthesizer

2 • Les formes flottantes (10 minutes)
To handle heavy objects as if they could float in the sky. World premiere. 

Nicolas Bernier & Myriam Boucher : visuals and modular synthesizer

3 • Melt mauve  (around 25 minutes)
Free jazz reminiscences melting into a melancholic syrup of crackling textures and velvety fries.

David Caulet : soprano saxophone
Nicolas Bernier : modular synthesizer


NICOLAS BERNIER
Nicolas Bernier is a professor of composition and sonic arts at the Faculty of Music of University of Montreal. With more than twenty awards from prestigious competitions in both music and contemporary arts, his work frequencies (a) won a Golden Nica in 2013 from Ars Electronica, one of the most important awards in the field of digital arts. In 2019, he published the book Sur le diapason with Presses du réel, which concludes the frequencies cycle of works. That same year, his audiovisual work entitled structures infinies was nominated and exhibited in London as part of the Aesthetica Art Prize. From May 2025 to September 2026, his flagship work, the installation frequencies (light quanta), is on display at the ZKM | Zentrum für Kunst und Medien in Germany. A copy of this same work is also part of the permanent collection of the Musée national des beaux-arts du Québec (MNBAQ).

For more than two decades, his work in sound performances and installations has been presented around the world in institutions such as Ars Electronica (Austria), Sónar (Spain), Mutek (Canada), DotMov Festival (Japan), L.E.V (Spain), ZKM (Germany), and Transmediale (Germany).


MYRIAM BOUCHER
Sound and visual composer Myriam Boucher is a professor and researcher at the University of Montreal. Her sensitive and multifaceted work explores the intimate relationship between music, sound, and image through audiovisual performance, VJing, ensemble music, and in situ projects. Her research and creative activities integrate composition, improvisation, deep listening, sound ecology, and immersion. Her research focuses on the perception of audiovisual works and multidisciplinary concerts combining sound, music, image, and musicians, with the perspective that art can transform reality and generate new forms of sensitive representations.

MÉLANIE BOURRASSA
Mélanie earned a Prize with High Distinction from the Conservatoire de musique de Québec, a doctorate in performance, and furthered her studies in Europe and Chicago. Mélanie teaches at Laval University and Cégep de Ste-Foy, and is a Buffet-Crampon and Silverstein artist. She performs regularly with the Quebec Symphony Orchestra, the Montreal Symphony Orchestra, Les Violons du Roy, the Orchestre Métropolitain, among others, and throughout Canada, the United States, and Europe.

She is a scholarship recipient from the Conseil des Arts et Lettres du Québec, Domaine Forget, and the American Federation of Musicians (AFM). She won first place in the Canadian Music Competition in chamber music and an Opus Award in 2015. She has served on several juries, including the CALQ and the Canadian Music Competition. Mélanie founded the Canadian Bass Clarinet Association and directs the Canadian Center of Excellence for Bass Clarinet.


DAVID CAULET
He trained as a saxophonist, and his artistic journey
has led him to explore several musical cultures. Ska, punk, salsa, and funk in the 1990s, then jazz, improvised music, and electronic music at the turn of the 2000s. Strongly guided by improvisation, his creative work is influenced by these various trends and navigates around this musical crossroads. Through several projects, he has collaborated and recorded with various musicians such as J.F. Oliver, O. Lété, C. Lété, D. Fournier, R. Bottlang, R. Charmasson, G. Pansanel, and others.

Now based in Montreal, he is pursuing a PhD in Composition and Sound Creation at the University of Montreal and, in recent years, has devoted himself almost exclusively to electronic music and composition.

Dominic Jasmin

Dominic Jasmin is a composer and improviser from Montreal, Canada. His music, somewhere between free jazz and acousmatic music, blends the accidental and unpredictable nature of the former with the techniques of the latter to create what has been described as « structured noise ». Primarily working with found sounds and electronics, he also incorporates guitar and voice to some of his live sets.

He graduated from the Conservatoire de Musique de Montréal in 2018 and has been active on the
music scene there through his involvement in organizing concerts with Kohlenstoff collective and Mardi Spaghetti as well as being an active musician Apart from his solo practice through which he has collaborated with many other artists on a one-tim basis, he is involved in different projects including Actors Artificial et Shortest Job First.

Programme
Premiere 17’22’’

Hugo Menchi

The human and musical resonances that he carries within him, and which are dear to him can be felt during every performance, in memory of those colorful moments.  Percussive sounds, rhythms that are both energetic and full of sensitivity: this is what Hugo's world has to offer.  With a background in electroacoustics and a keen interest in field recordings, he combine all of this in an original journey.  His curiosity and taste for discovering new atmospheres have allowed him to expand his experience on numerous stages in Europe, North Africa, and North America.  He also co-founded and launched 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 world could, like him, stay connected and shar their passion for music creation.  In line with this, he co-founded the SOAME Records label with Oxyde B, with the aim of delivering sonic journeys and a sense of letting go, while awakening our senses of hearing.  Moving between live performance, immersive and spatialized composition, Hugo Menchi approaches music as a vast laboratory for research and escape.

He is currently furthering his studies at the Conservatoire de musique et d’art dramatique de
Montréal, in the electroacoustics department, under Martin Bédard.

Program
In Mara 10’30’’
This piece is the result of a year of work in the electroacoustic composition course at the
Montreal Conservatory, under the supervision of Martin Bédard.  In Mara evokes a return to the foundations of all forms of living expression. On a journey to the center of the Earth and water, we travel through a multitude of primal states, taking us
back to the beginnings of all forms of life.

Julie Delisle

Julie Delisle is a composer, improviser, and multidisciplinary researcher in digital audio, as well as a flutist. She graduated from the Conservatoire de musique de Montréal and from the Hochschule für Musik Freiburg (in both modern and baroque flute), and holds a PhD in musicology from the Université de Montréal. Her music has been presented in Quebec (Festival Akousma, Productions Totem Contemporain, Ensemble Paramirabo) and abroad, at the Sound Days Festival (Liepāja, Latvia) and the Impuls Academy (Graz, Austria).

Julie Delisle is actively involved in Montreal’s cultural scene through organizations such as Codes d’accès and Productions Totem Contemporain. She also works in the fields of video game technology, interactive audio, and virtual and augmented reality. She is currently studying electroacoustic composition with Louis Dufort.

Program
Étude de points et de lignes 10’
Since the sight of a piccolo tends to provoke doubt — or even fear — when I bring it to an improvisation evening, I’ve gotten into the habit of introducing it as my little synthesizer. Indeed, the great flexibility of this small instrument allows for a wide range of articulations and modulations, as well as the use of the voice to color the sound.

Étude de points et de lignes grew out of a patient process of learning to improvise with a minimalist setup consisting of amplification, delay, and reverb, along with its more recent extensions.

pliq

pliq is an audiovisual duo composed of Jean-Philippe Jullin and Alexandre Sasset-Blouin. Their practice explores the relationship between sound and image through feedback systems in which each medium acts upon, alters, and transforms the other. Inspired by systems thinking, they design environments where media mutually shape one another in a continuous dialogue between control and drift.

Program
Fixate 10’
Fixate is a frenzied drift from fascination to obsession. The performance approaches the gaze as an embodiment of love that becomes corrupted, turning into an objectifying and dehumanizing gesture. The jerky movements of the eye are translated into chaotic, distorted sonic pulsations that trace a path through shifting points of view. The reactive and sometimes unpredictable interactions between the audiovisual elements reflect the resonance between the observer and the observed.