Specific to their ever-evolving artist line-up and intelligent push for electronic music, MUTEK opened it’s doors in full force on Wednesday May 25th 2015. In wake of their 16th edition, MUTEK remained true to it’s roots in pushing Canadian artists. Opening the festival alongside the likes of James Holden and Ten Walls in the main room of the elegant, white-walled Musée d'art contemporain de Montréal, Boundary set the stage to revive the art of listening and introspection behind electronic music production.

An artist of multiple alias’ and personalities, Ghislain Poirier started his discovery in electronic music in 1991, through local radio station CISM, of Université de Montréal. Branching his musical interests to multiple spectrums, Boundary found himself immersed in a range of electronic and rap/rave culture.

Working in collaboration with a trained drummer and keyboardist, Poirier promised and delivered a live-set that would made us digress and submerge into the pulsating and  uncompromising drum patterns. Interested in moving listeners to a different dimension of thought processes, Poirier claimed that:

“As Boundary, I really don’t mind if people are sitting or even laying on the floor. If they wanna dance, then fine but it’s not a set made for people to dance... I didn’t make every decision to make people dance. The thing I really want is for people to listen. It sounds very simple [chuckles] but it’s not that simple in the world right now. I want people to listen to the track and album from A-Z without skipping, without browsing the computer. For example, when I did the record launch, I did an event at the SATosphere and I didn’t put any projection in it. So I said ‘Look, there are bean couches, lie down, there’s no lights and I’m going to put the music from the computer. I’m asking for 45 minutes without checking your phone, listening, closing your eyes and that’s it...and it was almost religious.”

And listening is what the audience did on the premiere night of MUTEK 16. From the static noises to the encapsulating basslines, Boundary caught the disdain of an audience of music for-goers. “I’m very interested in texture. With Boundary, things are moving but you don’t really notice. Very slow variations; it could be static but it’s still moving. I’m interested in the fact that we lose perspective of time. Usually, we are so used to counting, and especially as a dancer, you know what’s coming even if you’ve never heard it. I try to begin with these expectations,” he explained.

“It has always been both worlds, raves and forward pushing. There’s different music for different contexts… you don’t expect a laptop at a punk show and that’s normal. Sometimes there are a lot of factors that go into what is a context. I really like the MUTEK context,” he closed with a grin.

We send warm congratulations to Boundary and MUTEK for opening the electronic music scene’s most anticipated week of the year. See you tonight for NOCTURNE MUTEK 2 as Dasha Rush and Takami Nakamoto perform the world premiers of their live sets at the MAC!

  • A recording of a Boundary show in 2014:

 

  • Additionally you can sample some of Boundary's sounds here: