Several concert recordings have been made at Usine C during recent editions of the festival.*

Some of these are now available in binaural version. This technique is designed to reproduce natural auditive perception, thus creating the impression of hearing the concert in the magnificent venue where it was performed.

What better to tide us over until the 17th edition of the festival?

*Recorded, mixed, and mastered by Frédéric Auger

Up to three concerts will be available each month between now and the festival. Check our site regularly for the latest releases.

You can also visit our Photo Gallery for more Akousma memories !


Giant Claw (US)

TITLE : Live At Akousma 2018
Recorded during Akousma 15
DATE : October 19, 2018

Giant Claw is the musical project of visual artist and Orange Milk Records co-founder Keith Rankin. As a collaborator, he has joined with Orange Milk partner Seth Graham under the name Cream Juice, and as part of the group death’s dynamic shroud. His personal work is focused on blending textural sound design with complex harmonic and melodic material to create a hybrid modern composition unique to our place and time.

Previous albums Dark Web, Deep Thoughts, and Soft Channel have been featured on publications like NPR, Wire Magazine, Rolling Stone, and were named among tinymixtapes favorite albums of 2014, 2015 and 2017 and CMJs albums of the year in 2014.

As a designer, Rankin has provided the visuals for many Orange Milk projects and has been commissioned by institutions like the New York Times and the MIT Technology Review.

Monique Jean (QC)

TITLE : Miss Take, pour lecteur de cassettes, no-input (2019)
Recorded during Akousma 16
DATE : October 23, 2019

Monique Jean is always seeking sound material that is charged, raw, and full of energy. For her, sound’s materiality is the key to sensation, and gives rise to both physical sense and logical sense. Her current research involves spatialization on a dome of loudspeakers; sound in continual metamorphosis; and the unpredictable and imperfect aspects of living sound, which she finds in improvisation with her “no-input” device, part of the Miss Take project.

Program: Miss Take, for cassette player, no-input (2019)
Miss Take gives us a sympathetic vibration: one that resonates with the location, the vibrating material, and the gathering energy that breathes life into the no-input device and spills out into the multiphonic space. Miss Take is a rudimentary device designed for an out-dated object, the cassette player, configured for no-input. The resulting sound from the electric circuit is unpredictable, switching in an instant from bass to treble or from pure to granular sound, within a reduced tonal palette. The rhythm and movement created via the spatialization of this vibrating material are triggered by perceptual factors—attentive, like us, to the unfolding sound.

CLOrk (QC)

TITLE : Tidal Flow (2016)
Recorded during Akousma 13
DATE : October 21, 2016


Established in 2011 by Dr. Eldad Tsabary, Concordia Laptop Orchestra (CLOrk) is a large laptop ensemble (20-25 performers), which operates as a course for advanced electroacoustic majors at Concordia University’s Music Department. The curriculum is built around highly participatory planning, production, and realization of innovative interdisciplinary and networked laptop orchestra performances within an action research framework.

The process of creation and performance is highly collaborative, transformational, and adaptable to students’ interests and abilities and to the varying contexts of CLOk’s performances. Since its establishment, CLOrk has collaborated with symphonic, chamber, jazz, and laptop orchestras; soloists; dancers; VJs; and others; always updating its modes of interaction, its technologies, improvisational approaches, and musical expression.

Members of the CLOrk for this concert were:
Elias Bazinjaneh • Cassandra Beauvais • Didier Bergeron • Bennett Dobni • Liam Fenton • Joel Guerin Simard • Emiri Inoue • Michael Khayata • Mark Latimer • Diana Lazarro • Elizabeth Millar • Robert Stiglitz • Robin Schmidt • Eldad Tsabary (director) • Danil Ulmashev • George Varoutsos • Travis West • Vanessa Zaurini 
Tidal Flow (2016)
A collective comprovisation co-composed for Akousma by all performing members of the orchestra, featuring the wide dynamic and textural range possible with a mixed digital/analog/acoustic orchestra of 20 performers. The performance features an orchestral interplay between balance and disturbance, between collective and individual expression.  

Jon Vaughn (SK) / Colby Richardson (MB)

TITLE : Mellotrauma(création)
Recorded during Akousma 13
DATE : October 20, 2016

Jon Vaughn is a visual artist, curator and experimental musician living in Saskatoon, Saskatchewan. His sonic work fuses composition and improvisation, and electronics and acoustics with a love of both minimalism and free jazz into his own unique mutation. Releases of his can be found on labels such as No Type, Panospria, Oral, Flish, Krakilsk and Slapart as well as his own Pop Quiz Records.

Colby Richardson is a visual artist, filmmaker, and analogue video artist based in Winnipeg Manitoba. As a video artist, Colby utilizes an array of historic video technologies and equipment to create dynamic and textural visual works, focusing on the control and exploration of video feedback and no-input mixing. Colby creates otherworldly video realms that straddle the border between glossy and grotesque, investigating themes of transformation, passage, and escape.

Program :
Mellotrauma (2016) 35' (premiere)
Mellotrauma is a composition for live performance utilizing audio and video feedback and electronic manipulations that is intended to both overwhelm and subdue the senses. Jon Vaughn incorporates both analogue and digital sound sources to evoke and transform the idea of experimental noise music manifesting in richly textural worlds embedded with fragmented melodies, cavernous bass lines and spasmodic no-input mixing and tape-manipulated instrumentation.

The accompanying visuals in Mellotrauma are created and altered in real time by Colby Richardson through the use of analogue video synthesis, video feedback, and no-input video mixing. By combining and sculpting these layers, Richardson creates a visual response to the tone and intensity of Vaughn’s consuming soundscape, collectively propelling the audience through swelling waves and dense detritus, blurring the boundaries between the two mediums.