CATHEDRALE
Le Gesù - Centre de créativité
1200, rue Bleury
Mar 14, 2019
8:00 PM GMT-4
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About this concert
19h Les rencontres incendiaires
Art contemporain, hors Montréal point de salut ?
Sous la forme de table ronde, des débats libres de censure et d’autocensure réunissent des acteurs du milieu aux opinions diversifiés, afin que le choc des idées permette d’apprécier des visions différentes du monde.
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Quasar propose un programme acoustique magnifié par la réverbération exceptionnelle de l’Église du Gesù. Dans cet écrin se déploieront les créations de deux compositeurs marquants de la scène contemporaine de Québec, Pierre-Olivier Roy et Yannick Plamondon. Les œuvres des compositrices Analia Llugdar et Émilie Girard-Charest, toutes deux conçues pour espaces réverbérants, scintilleront aussi dans ce joyau acoustique. Résonance, vibration, lumière, espace… une immersion au cœur du son.
Interprètes
Quasar - quatuor de saxophones
Compositeurs
Pierre-Olivier Roy
Yannick Plamondon
Émilie Girard-Charest
Analia Llugdar
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CATHEDRALE Biography
In 8 years of existence, an EP, and four albums, the members of CATHEDRALE from Toulouse
have gradually honed their formula: precision rhythms, defiant vocals, and razor-sharp guitars
in the service of a post-something music, more proto than punk, as powerful as pop, always in
the red.
With experience touring across Europe alongside bands like Thee Oh Sees, Frustration, Rendez-
vous, or Uranium Club, CATHEDRALE has built a solid reputation on stage over the years.
For their fourth album, the band travels to London where they reunite with producer Syd Kemp
(Ulrika Spacek) and his Haha Sound Studio, recording and mixing the album Words/Silence in
one week. Jason Mitchell handles the mastering.
Exploring themes of insomnia, change, boredom, or separation, Words/Silence reveals a more
introspective side of the band. This new opus is darker, denser, and allows more space for
arrangements. The same applies to the artwork, inspired by the instinctive forms of Matisse and
the cut-up technique envisioned by Burroughs and Gysin in the 1950s. This visual illustrates the
role of spontaneity and randomness in the visual, sonic, and literary experiments of this new
album.
Read Morehave gradually honed their formula: precision rhythms, defiant vocals, and razor-sharp guitars
in the service of a post-something music, more proto than punk, as powerful as pop, always in
the red.
With experience touring across Europe alongside bands like Thee Oh Sees, Frustration, Rendez-
vous, or Uranium Club, CATHEDRALE has built a solid reputation on stage over the years.
For their fourth album, the band travels to London where they reunite with producer Syd Kemp
(Ulrika Spacek) and his Haha Sound Studio, recording and mixing the album Words/Silence in
one week. Jason Mitchell handles the mastering.
Exploring themes of insomnia, change, boredom, or separation, Words/Silence reveals a more
introspective side of the band. This new opus is darker, denser, and allows more space for
arrangements. The same applies to the artwork, inspired by the instinctive forms of Matisse and
the cut-up technique envisioned by Burroughs and Gysin in the 1950s. This visual illustrates the
role of spontaneity and randomness in the visual, sonic, and literary experiments of this new
album.
Garage Punk
Pop
Punk
Post Punk
Garage Rock
Post Rock
Rock
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