Review – grasshopper morphine (Piehead Records) 2002 – by François Couture, All Music,

Review by François Couture

I8U’s third full-length solo album, Grasshopper Morphine, is also her most accomplished, compelling effort. The ideas she sketched in B have flourished into engaging esthetics. The artist aims at the intellect and the body. She doesn’t want to give you an urge to dance, she wants her electronics to find their way into your organs and affect you on a biological level. These are not crude experiments involving head-splitting sine waves or sub-bass tones that make you sick to your stomach. I8U’s approach is much more gentle and elegant; it could be compared to Francisco López at his most physical. For example, “Sun Dogs Rising” features a high tone becoming more and more insistent as the piece unfolds — it’s not alone, there’s a lot going on behind it, but at one point you focus solely on its increasingly menacing presence, wondering how much more it can grow before it devours you. In terms of less field recording-based, more electronic music references, Grasshopper Morphine evokes Ryoji Ikeda, Carsten Nicolai, and David Kristian‘s beautiful Room Tone. The synthesizers create their own rhythms (sometimes conflicting sets of them), but there are no naked beats here and no clicks & cuts like on B. This album can work well as ambient/background music and it literally opens up when scrutinized. High playback volume is essential to experience it fully. Recommended.

Review – grasshopper morphine (Piehead Records) 2002 – by I. Khider, Exclaim

Abstract electronic that is sound sculpting at it’s most laceratingly delicate and refined, like a box of loose scalpel blades. Following the textural yet highly atmospheric release B, grasshopper morphine is intriguing and sometimes downright physically painful to listen to. Some of the frequencies are so delicate yet barbed that it feels as though the sensitive inner nerves of the ears are being plucked and pinched. It seems that I8U’s music grows increasingly complex and intricate with every release, her work demands the listener’s full attention and receptivity with the strength of the craft residing in subtleties and detail. grasshopper morphine is definitely I8U’s most challenging, yet also her most beautiful collection of sound sculptures. In order to fully appreciate this recording, an environment with minimal background noise is strongly recommended.
– I. Khider, Exclaim

Review – Obstacle (Oral) 2002 – by TJ Norris, Soundvision

Limited to only 100 copies, I8U has contributed a fifty minute long track to our dense, temporal sound space. Characterized by quaking tonal forms and unpredictable minor peaks and shallow harmonics, this disc could be called post drone. This is macrosound redux. Parts distance and parts concrete/physical. The canvas is covered, every inch, making for sound in the fourth dimension. Canada’s i8u first presented her work live with video and animation. There are subtle hints of Ryoji Ikeda’s work with Dumb Type herein, but not at the sonic decibel level. This is a visual, sombient, refined take on the contemporary landscape. This is one of two releases from i8u this year (also Grasshopper Morphine on Piehead Records). As a live studio recording this disc has so many secrets. The sensory experience responds to an open field of urban sounds, railways, and mechanics. A gestural highway riveting in its endlessness.

More Info: www.oral.qc.ca

Review – Obstacle (Oral) 2002 – by François Couture, All Music

The first phase of the Obstacle project consisted of a web art collaboration between experimental electronica artist I8U and video artist Gigimatique. Obstacle Phase 2 is a longer concert version and this CD (a limited edition of 100 released by Oral the day the piece was premiered on-stage at the FIMAV festival in Victoriaville, Québec) presents a studio recording of the music. I8U derives all the sounds from field recordings made on bridges. The piece begins with an imperceptible sub-bass drone. Very slowly, other drones come forward. The characteristic buzzing of car traffic remains on the border of consciousness. It’s there, but just not quite tangible or defined enough to make it obvious. The piece continues to evolve through phases of expansion and contraction — a car trip through the streets of a suburb, where you slow down every 200 meters for a stop sign. In its last ten minutes, the piece builds up, first unveiling its source, then gaining decibels to end in a shrieking noise assault abruptly cut 27 seconds after the 50th minute. The form is not new, but I8U does it with grace, constantly holding the listener’s attention in her hands, even though the pace remains excruciatingly slow throughout. The quality of immersion during the first 45 minutes lulls one into an altered state. The finale, made of loops just a bit too obvious, sounds a bit gratuitous. Thoughts of Francisco López, Marc Behrens, and Stephen Vitiello come to mind. This album is not as strong as Grasshopper Morphine released a week earlier, but this is mostly because the extended piece format makes it less varied.

Review -Obstacle (Oral) 2002 – by Roël Meelkop, Vital Weekly

i8u- Obstacle phase 2 (CD by Oral)

Obstacle Phase 2 is actually a work of sound, video and animation,
but this CD only presents the sound part. One long track of flowing,
mostly dark sounds, with an occasional rhythm. The piece evolves
quite slowly and has an ambient feel, but on close listening, one can
hear subtle things that are not very ambient at all. Despite the dark
sounds, the piece doesn’t have a gloomy atmosphere, it has a pretty
concrete character. That’s what sets it apart from regular ambient.
The rhythmic elements are very minimal, so there is no danger
whatsoever of the track becoming flat or cheesy. The slow development
of the work does not cause loss of attention, on the contrary: the
tension is kept so well, that the whole piece is very captivating.
I’m very sorry I missed the performance with the visuals, because if
that was anywhere as good as this, it must have been a great show.
– Roel Meelkop, Vital Weekly

More Info: www.oral.qc.ca

BBC Interview

I8U

around the world in 80 labels
I8U
Located in: Montreal, Canada
Operating Since: 1999
Key Contact: i8u
Released On: Piehead, Mutek
E-Mail: muse@i8u.com
Website: http://www.i8u.com/
Listen
ListenI8U: Cattail Furnace
(I8U)

About I8U
Playing with Martin Tétreault for instance, directed me away from low frequency drones and on to explore other frequencies.I8U has had an interesting musical journey to say the least. Pursuing various styles of music from early classical training to blues, it was a chance meeting with David Kristian that would prove to be the inspiration for her move to experimental music.Excerpt from a feature article from Incursion Publishing May 2001 Interviewed by Richard Di Santo.”David suggested I try something different considering the equipment I owned at the time, so we planned for a jam session.

What I discovered during these sessions was very simple, this music flowed effortlessly, I didn’t have to think, just play, I thought “This is what I’m supposed to do!”. David was instrumental in my move away from “traditional music” in the sense that he introduced me to the art of creating sounds, and listening to what he was doing simply made me realize that this is where I would be most happy because the possibilities are endless and only defined by one’s own limitations.

So, I embarked on a journey of learning and un-learning, learning about sound art and the precision in programming sounds, learning to listen to what I don’t want to hear, un-learning years of traditional music structures, acceptable melodies , chords and rhythms, therefore pushing my own limitations of what I expected to hear, and listen for the unexpected.

This quest for learning I guess is what brought me here, once I learn something, I want to move on to the next thing, not knowing necessarily what that will be, but pushing my own boundaries, I never know what the trigger will be, but I recognize it when it manifests itself. Playing with Martin Tétreault for instance, directed me away from low frequency drones and on to explore other frequencies.

IDM in a funny way has had me explore beats, not as in 4/4 kind of thing but as how they can occur within sound itself and how they can be layered in such a way that you will feel a pulse but you won’t be “cutting the rug” so to speak.

What I fear most is stagnation, one must never get so comfortable in one’s abilities.”

I8U has participated in various new music/new technology festivals and events, Studioxx web jam (Montreal/Tasmania Feb 2002), VoltAA (Montreal 2001), Silophone(Montreal 2000) The Opera House (Toronto 2000).

She has cd’s released on Canadian and European labels including a collaboration with Goem (Gast, Netherlands 2002).

She performs regularly and collaborates as well with Martin Tétreault (Mutek 2001) David Kristian, Guylaine Bédard (photographer).

A new release is planned for May 2002 with Piehead records. She will be performing at the Festival de Musique Actuelle de Victoriaville in May 2002 alonside gigimatique (Ælab) who will be providing visuals for this project entitled “Obstacle Phase 2” and is planning a small tour in Europe in June 2002.

(special thanks to Richard Di Santo and incursion.org for their kind permission to reprint the above text.)


BBC i8u’s guide to the Montreal underground

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around the world in 80 labels
I8U I8U –
Montreal New Music Feature
 
Here it seems everybody knows everybody; and creatively speaking, that
is very motivating. The exchange that takes place between musicians from
different electronic backgrounds is probably one of the biggest factors shaping
this new "Montreal sound".

 About the Montreal new music scene by I8U.

i8u

Montreal Scene Report
The Montreal electronic experimental music scene is thriving these days with a variety of artists who are gaining international recognition thanks to the arrival of festivals and events that are tailor made for their brand of talent.

The particular atmosphere and the friendliness of this city has bred some incredible talents from people like David Kristian, Martin Tétreault, Sam Shalabi, Alexandre St-Onge and the list goes on. But most of all, I find that the uniqueness of this city lies in its ability to facilitate the meeting of artists.

I can go to a “musique actuelle” show, meet musicians and eventually work with them, and then I can go to Mutek and the same thing will happen. I do believe this is particular to Montreal. Here it seems everybody knows everybody; and creatively speaking, that is very motivating. The exchange that takes place between musicians from different electronic backgrounds is probably one of the biggest factors shaping this new “Montreal sound”.

Each of these musicians/sound artists are busy with many different projects in and around the Montreal area. Check out the weblinks for more information on that particular artist or label.

Martin Tétreault is constantly navigating between Montreal, Europe and Japan, working with the likes of Xavier Charles, Otomo Yoshihide, Sachiko M., Diane Labrosse, Janek Shaeffer and so on. He recently curated the Turntable Hell Tour which was organized by the London Musicians Collective.

http://www.l-m-c.org.uk/texts/tetreault.html

Sam Shalabi is a guitar and oud improviser and is probably the busiest musician in Montreal with projects such as the Shalabi Effect, the Kristian Shalabi St-Onge trio, Molasses and GSYB.

http://www.shalabieffect.net/

Alexandre St-Onge is an electro-acoustic composer and improviser utilizing bowed double bass and computer applications to create his music; he is also busy at home and abroad.

http://www.actuellecd.com/bio.e/stonge_al.html

Tim Hecker is an experimental techno artist who has released material on Force Inc under the moniker Jetone and Alien8 Recordings offshoot Substractif under his own name. He is very present on the Montreal scene, and has recently performed in Berlin at the Transmediale festival.

http://www.alien8recordings.com/

Mitchell Akiyama is an experimental techno artist who is also at the helm of Montreal’s Intr_version label and has released material on Substractif.

http://www.intr-version.com/

Deadbeat is an experimental techno artist, who is also involved with Montreal software synth developers Applied Acoustics Systems Inc. He has released material with Hautec, Revolver and Intr_version.

http://www.intr-version.com/

David Kristian is an experimental electro and soundscape artist who is renowned for his mastery of analogue synthesis. He is now working with Applied Acoustics Systems Tassman soft synth. He has recently been devoting his time to creating sound design and music for TV, and films such as Karim Hussain’s Subconscious Cruelty, The City Without Windows and Ascension. David has released material with several labels including Alien8 Recordings, Leaf, Worm Interface and Lo Recordings.

http://www.davidkristian.com/

Akufen is an experimental electro and tech house producer who has released material on labels such as Perlon, Hautec and Force Inc. He has been active on the Montreal music scene for over a decade.

http://www.discogs.com/artist/Akufen

Ælab have been busy presenting their various projects at the Media Lounge of the New York museum of contemporary art (New York 2000), the Dutch Electronic arts festival (V2_, Rotterdam,Netherlands 2000), Mutek (Montreal 2000 & 2001) Ælab have released material with both the Oral and the Mutek labels.

http://pages.infinit.net/aelab/

More artists such as Pheek, Mateo Murphy, Alexandre Burton, Julien Roy, Monstre, Lateef the Quadraceptor, and John Ascencio definitely have a hand at shaping the sounds coming out of Montreal and their contribution cannot be understated.

As far as events around the city are concerned, we’ll start with Mutek.

Mutek, has become a standard by which the industry measures itself, and this, only 2 years of existence and the hard work of Alain Mongeau, Eric Mattson and their team. Artists from everywhere want to participate in this festival, it is a meeting place for all musicians with an interest in new electronic music/new technology. The atmosphere is conducive to the exchange of ideas and collaborations between artists are made possible.

http://www.mutek.ca/

The Silophone project was created by two artists who call themselves “the user”; Thomas McIntosh, architect and Emmanuel Madan, composer are best known for their “symphony for dot matrix printers”. Using an old grain silo, microphones and speakers were lowered in one of the cylinders which acted as an incredible echo chamber; local and international artists were invited to partake with a project of their own design, each using the silo in their own unique way. The result was a year of amazing concerts such as Francisco Lopez’s memorable performance in October 2000 and Carsten Nicolai’s installation during Mutek 2001 to name a few.

http://www.silophone.net/
Applied Acoustics Systems Inc., is a Montreal based company that has developed Tassman, an innovative software synthesizer based on physical modeling, which means everything from analogue modular synthesis components to acoustic elements such as plates and reeds can be mixed and matched to create realistic, yet never heard before sounds. What sets Tassman apart from other softsynths is the sheer quality and realistic texture of the end results. The Tassman was honored with Electronic Musician magazine’s coveted Editor’s choice award in 2001.

http://www.applied-acoustics.com/

Intr_version, is a label run by Mitchell Akiyama which has been showcasing the talents of Pheek, Jetone, Deadbeat and Akiyama himself.

http://www.intr-version.com/

No Type is a virtual label where Montreal artists David Turgeon and Aimé Dontigny showcase their talent and that of other fellow musicians such as James Shidlowsky, Magalie Babin, etc. No type has recently released their first non virtual compilation “The Freest of Radicals.”

http://www.notype.com/

Oral, is a label run by Eric Mattson, whom, aside from being involved with Mutek, finds time to release experimental non-lyrical electronic music and is very active producing events such as VoltAA. He is without a doubt the most enthusiastic ambassador of all spectrums of electronic music. Oral relies on its roster artists which is comprised of Ælab, Akufen, Herri Kopter, Suna and Nancy Tobin.

http://www.oral.qc.ca/

Alien8 Recordings run by Gary Worsley and Sean O’Hara has been working relentlessly and consistently to discover and release the work of maverick Montreal artists and has a strong presence on the local and international scene. Dedicated to various forms of electronic music, they have made it possible for musicians to perform on a more regular basis. They have just created a new sub-label called Substractif on which you will find artists such as Mitchell Akiyama and Tim Hecker.

http://www.alien8recordings.com/
http://www.substractif.com/

And last but certainly not least is Le Navire Night, a Radio Canada (CBC) radio program which has been broadcasting experimental music every Sunday night under the watchful “ears” of Hélène Prévost, who has to her credit music for the stage, documentaries and advertising. She has taught and undertaken research in auditory perception at the Faculty of Music of Université de Montréal, where she also studied composition. Radio has been for many years her principal medium of exploration.

http://radio-canada.ca/radio/navire/

 
 
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Review – i8ub (bake) 2001 by WTB

i8u: b Bake Records  047  2001

i8u has been a guest on WtB? twice and is an important figure on the Montreal new music scene.   She deserves it.  She has a clear grasp of sound and her manipulations of deep sonic material are outstanding.  i8u is changing over time, and this latest offering gives us a glimpse into her new style. Bass pulses and granular, near distorted sounds throb away as i8u slowly performs some sonic tricks.   I like the disc, but there’s something a bit “incomplete” about it all.  As if i8u hasn’t quite got it all sorted out yet.  I’m looking forward to seeing where she’s headed.  I’d pick it up if you haven’t heard anything else, otherwise, hold out for what’s to come.

Review – i8ub (bake) 2001 – by Deanna Radford, Stylus

Repeated listens to B will present some kind of infusion of pressing atmospheric sounds, driving, nominal clicks and beats. This album is percussive and heavy in a way. The result doesn’t consist of heavy-handed or abrasive qualities, but those of subtlety in the utmost sense. Not unlike Pan Sonic sounds, there is some element of the heavy that is wonderful and inescapable on B…The track Sciatica is a quiet and dense track; it’s as if all of the reverb often expelled with a heavy dub sound has been sifted, as the dub sounds go on to explore on their own and turn up in a ringing and newly-shapen space. Mind though, there is no dub here. Montreal’s i8u has made some really lovely stuff. Her work has been suscribed to in the past as aloof or withdrawn sounding; however, what seems to equal to this listener is simply a rewarding challenge that is quite pro. (Bake/Staalplaat,www.i8u.com) – Deanna Radford, Stylus