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Lisbon Lux Records Celebrates Five Years of Local Electronic Pop
When trying to get a record label off the ground, patience really is a virtue.
That’s the belief at least of Julien Manaud, co-founder of local independent label Lisbon Lux Records, which has made a name for itself in Montreal for the past five years, serving up some of the best in electronic pop in both of Canada’s official languages.
Patience is such a hallmark for Manaud that albums delivered by the label’s artists require months of preparation for choreographing their launch to ensure maximum exposure. Quite a few album release dates have been pushed back to achieve this goal.
“I think patience is what I learned in the last five years,” says Manaud with a laugh when reminiscing about the label’s slow but sure evolution. “If a journalist or an agent or someone you want to work with is not ready to work with you or with your project, well, don’t be frustrated about that; it means it’s not the right time, and just don’t be discouraged, and continue what you like and what you put trust in.”
But times have changed since the label’s inception, which Manaud co-founded after unsuccessfully trying to shop around the demo of the label’s first act, Le Couleur (whose Steeven Chouinard is the label’s other co-founder). Lisbon Lux’s roster has garnered much success in its hometown, and has even managed to gain a small yet growing international presence.
That success has not gone to Manaud’s head, as he has to constantly be on the lookout and adapt to the never-ending fluctuations experienced by the music industry.
“When I’m going to conferences and I see even big labels, they say every year the strategy changes, the new media changes,” says Manaud. “Now it’s Spotify, but it was not the case five years ago. What about in five years? We don’t know.”
Even as platforms like Spotify and Bandcamp have given artists easier ways to bypass the label system to promote their creations, Manaud is skeptical of the long-term success that can be gained from an artist going at it alone. A label’s team can focus on the less glamorous but vital administrative tasks involved in promoting an artist’s work, which Manaud contends is the best way for an artist to make the leap to greater heights.
“It’s very rare and hard to develop everything by yourself, because you can’t do everything by yourself,” Manaud reasons. “You can’t be your own booker, your own producer, own manager, own publisher. It takes a lot of people to organize everything.
“It’s something I like to say, but every time I meet an artist who pretends to do everything, the music is rarely good [laughs].”
As proof of both his perspective on the value of labels and Lisbon Lux’s own increasing reputation as a hub for electronic pop, Manaud notes the label receives 50 demos per week, with Manaud trying as much as possible to listen and respond to each request even if they’re ultimately passed on.
“I hate the situation when a band is waiting for the answer from the label and they never heard [back] about it, because I was an artist for 15 years, and I used to send my music and I really like when people took the time to answer,” Manaud elaborates. “I’m trying to answer every time, and even if I don’t like it, I explain ‘this is not my jam, it’s not close enough [to] the Lisbon Lux sound, but maybe you should contact this label or this label, or you can do that or do that.’ Even if I say no I can see they appreciate that I took the time to listen to the music.”
In terms of what has set Lisbon Lux apart from other Montreal labels, Manaud credits fostering an identity based on musical style rather than traditional linguistic divisions. That disregard for pursuing support from only one linguistic network has lead Manaud to seek out attention from anyone who would listen.
“I just decided to go everywhere, and I was knocking in Toronto, knocking everywhere and saying ‘Hey guys, we have a cool label. It’s not a language label; it’s more about the sound.’”
Manaud even described it as his “mission actually, I’m really trying to put my artists, French or [English] to the global market.”
While his goal of breaking down language barriers is becoming increasingly fruitful, there are still challenges to keep an eye on crossing into the halfway point of a decade’s existence. In particular, Manaud seeks to maintain a slice of the streaming pie for Lisbon Lux amid the subsuming co-option of services like Spotify by major labels.
“It’s a bit sad in a way, [...] at one time they were not fighting for digital, so we were happy to play in this court between small labels,” says Manaud.
However, running a label does have its joys. Having previously thrown parties for Lisbon Lux’s anniversaries, it’ll be no different this year, with the label’s fifth birthday being celebrated at the recently opened Station F-MR. The summer public square, decked out with repurposed metro cars, will serve as a stage for four artists on the label’s roster, and Manaud figured June festivities would be an attractive alternative to past anniversaries.
“The party was in February and March in the past years, which was a bit sad because it was winter,” says Manaud. For this year, it was decided that “we’re going to wait until the summer and do something more summery.”
However, Manaud’s original idea for the anniversary involved paying tribute to the French duo that was the inspiration for the label’s ethos.
“We wanted to play live the Moon Safari album from Air, with every musician from Lisbon Lux,” Manaud says excitedly. But the sheer logistics of the concept, not to mention raising a baby, proved to be a bit too much to pull off. “We kind of [said] ‘okay, let’s forget this project, maybe for the 10 years [laughs].’”
Lisbon Lux Records celebrates its fifth anniversary with performances by Beat Market, Le Couleur, Paupière, and Radiant Baby on Saturday, June 30 at Station F-MR (Allée des Barges) at 6:00 PM, $20.
FRINGE 2018: 25
25 is an exploration of how feelings are dealt with at different levels of maturity throughout one’s life. This is done through different characters reacting to various scenarios, as independent yet intertwining stories are told. The assumption we are led towards is that each of the characters are approximately 25 years old; some of whom act like mature, well-adjusted adults, and some of whom have yet to grow up.
Many of the problems that the characters encounter were heavy, serious issues of life and death, but the most brilliant part of these portrayals was where the focus of the conflicts lay. The conflicts were not the actual problems themselves—rather, the ways in which the characters dealt with them, the relationships the characters had with one another, and how those relationships played a role in dealing with the situation. There was always the balance of one character being the mature, responsible, fed-up adult navigating a difficult situation, with their only companion being a selfish, oblivious child. Although this formula was repeated in almost every scene, it never grew old. There was so much variety in the stories and characters that each scene was entirely enthralling.
The way the play itself was crafted was extremely well thought-out. The set and colour scheme was minimalistic, allowing for the focus to always be on the actors and their stories. The changes between sets and characters was seamless, even with time being taken to change clothes or re-arrange set pieces. Everything was done naturally and smoothly, and the brief moments between scenes gave the audience time to reflect on what we had just seen. Towards the climax of the piece, as the scene changes became more frequent, places and characters were stepped into easily both for the performers and the audience by simply changing the direction they were facing. The whole thing was very well planned, and every prop and costume was used creatively to convey seemingly endless ideas and meanings.
The stories themselves were all creative and varied, and they provided an excellent framework for delving into the concept of life’s different stages of maturity. Important questions were raised about the role that male privilege plays in one’s cognitive development, the lack of understanding that goes hand-in-hand with male privilege and immaturity, and the impact that privilege has on surrounding women. This aspect of the play planted the seed which grew into the realization that immaturity is disturbingly similar to narcissism. Whether or not that was intentional is debatable, but it was nonetheless a valuable epiphany.
25 is a work with stories that strike an excellent balance between being lighthearted and forlorn, while the characters are balanced in tandem between being adult and childlike. With the focus on the journeys that the characters took, conclusions to the stories were sometimes left unresolved, allowing our imagination to fill in the blanks—a risky move that paid off by further dragging my attention into the world they were creating. This piece was a series of relatable situations, relatable characters, and relatable existential crises. It was interesting, captivating and beautiful done, and absolutely worth seeing.
NEWS FOR WEDNESDAY, JUNE 27TH 2018
Hosted by Patricia Petit Liang
Stories by Patricia Petit Liang, Allison O'Reilly and Calvin Cashen
Produced by Patricia Petit Liang
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LOCAL
By Calvin Cashen
Montreal food banks are experiencing a large influx of refugee families in need of government support.
According to CBC News, this spike will continue to slow the supply of sustained government assistance for new claimants.
Over 9,000 refugees have crossed the Canadian border in 2018 alone, with several more expected to immigrate throughout the summer.
NATIONAL
By Allison O’Reilly
Data released by Statistics Canada shows that nearly half of all youth who end up in custody across Canada are Indigenous.
According to CBC News, Indigenous youth made up 46 per cent of admissions to correctional services from 2016-17 while making up only eight per cent of the youth population
Manitoba activist Michael Redhead Champagne says this statistic shows “unacceptable and systemic racism.”
By province, the numbers of Indigenous youth in custody were highest in Saskatchewan and Manitoba.
INTERNATIONAL
By Patricia Petit Liang
The Syrian army has launched an assault on the divided city of Deraa, displacing more than 45,000 people.
According to BBC News, at least 32 civilians have been killed by air strikes on Deraa and surrounding towns over the past week.
UN officials stated that the 750,000 people living in the region will continue to be displaced by the violence into the near future.
FRINGE 2018: Non.Sense
Contemporary dance is a language that most people don’t realize they can speak. It can be uncomfortable to watch strangers use their bodies in unfamiliar ways to communicate ideas and stories, and the result is a certain degree of reluctance to seek out contemporary dance as a form of entertainment. If this sounds familiar to you, then I encourage you to expand your horizons and attend Non.Sense. It was a powerful exploration of emotional connections and the concept of creating and understanding tension. It is an ideal piece to see whether you are only entering the sphere of movement art or if you are a seasoned dancer or choreographer.
The show was comprised of 3 works, each created by different choreographers. The first began with a powerful silence, broken only by the creak of a chair or a sharp intake of breath. It was deeply captivating, enthralling and hypnotic to watch the two dancers mirror each other’s actions in incredible synchronization. The connection between them was palpable.
The second piece was much more playful. The three dancers played games with one another, chasing each other around and taunting one another in the spirit of fun, but moments later would engage in gorgeous, powerful movements with astounding grace. The music together with their fluid gestures was entirely mesmerizing. I wanted it to go on forever.
The third piece was my favourite. It had a different flavour of creativity than the previous two; it got more laughs, but it also used the human body completely differently than the previous two performances. It explored the contrast between light and dark, noise and silence, closeness and space, and working together and competing against each other. How they were able to be so evocative with so little movement was incredibly compelling.
Non.Sense was a profound experience. The dancers were all phenomenal, and the choreographers created something truly captivating and poignant. Whether or not contemporary dance is something that you’re into, I recommend you go see it.
NEWS FOR FRIDAY, JUNE 22 2018
Hosted by Jessica Barile
Stories by Allison O'Reilly and Jessica Barile
Produced by Jessica Barile
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NATIONAL
By Allison O’Reilly
One of the four remaining commissioners on the national inquiry into murdered and missing Indigenous women announced they have decided to keep working with the inquiry despite disappointment with the federal government's limited extension.
According to CBC News, commissioner Michèle Audette made the announcement on Tuesday.
The inquiry was originally scheduled to submit its report on Nov. 1 of this year and wrap up its operations by the end of December. It asked for an additional two years and an extra $50 million.
Instead, it got an extension for writing its final report to April 30, 2019, and an additional two months to wind down its operations by June 30, 2019.
In a statement issued Wednesday, Audette said she felt a profound duty to ensure the inquiry delivers on its mandate.
NATIONAL
By Jessica Barile
Canada is looking into improve number of children of migrant children being held in detention centers
According to CBC News, the Canadian immigration system is understood to be more “ humane and compassionate” than the US.
Unlike the US system of immigration, Canada is said to only use immigration detention in cases of serious concern of endangerment or an unidentified individual.
However, CBSA is still looking to improve on different alternatives to detention and greater supervision on treatment of immigrants being detained in holding centers
NEWS FOR WEDNESDAY, JUNE 20TH 2018
Hosted by Patricia Petit Liang
Stories by Patricia Petit Liang, Allison O'Reilly and Calvin Cashen
Produced by Patricia Petit Liang
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LOCAL
By Calvin Cashen
The head of the anti-immigrant group Atalante Quebec was apprehended after police issued a warrant for his arrest on Monday.
According to CTV News, Raphael Levesque is scheduled to be tried on August 16th for numerous charges, including breaking and entering, harassment and intimidation.
The arrest was made in connection with an incident in which the far-right activist confronted employees of Vice Media in Montreal with intent to mock and ridicule them.
While Montreal police will not be investigating the incident, Premier Philippe Couillard and Prime Minister Justin Trudeau both justified the arrest as an infringement of freedom of the press.
NATIONAL
By Patricia Petit Liang
All full-time female and non-male faculty members at the University of Guelph will receive a raise after a salary review found that they were being paid thousands of dollars less than their male colleagues.
According to CBC News, the university will give a $2,050 raise to more than 300 faculty members.
University provost Charlotte Yates stated that it was important for her that people who do the same job are paid equitably.
INTERNATIONAL
By Allison O’Reilly
Child trauma experts are expressing concern that separating migrant children from their parents at the US border can cause serious physical and psychological damage.
According to BBC News, the head of the American Academy of Pediatrics went so far as to call the policy "child abuse."
From mid-April to May this year, the US Department of Homeland Security says it has separated nearly 2,000 children from their parents, after the families crossed the border into the US.
The children have been moved into shelters overseen by the Office of Refugee Resettlement, while their parents are prosecuted under the “zero-tolerance” policy enacted by the Trump government.
Health care professionals are calling for the government to release more information about the kind of mental health care separated children are getting in the shelters.
FRINGE 2018: Short Reviews for Fringe-Packed Days
I was going to start off this article by saying that Montreal’s Fringe Fest can “be hectic at times,” until I realized I used those same exact words last year. I suppose that’s the case every year. The sheer amount of shows to see can be overwhelming, not to mention other events like the Tunes at the Fringe Park and the 13th Hour. Sometimes, you will be forced to make last-minute decisions, especially in the event where a show is sold out.
Here are some short reviews of shows I managed to catch in the span of one day.
[…]morph
Upon entering the theatre, I was handed a program with a David Lynch quote on the front. On the back, a note from the director recommending that audience members do not attempt to find a meaning in the absurdity of the piece. After seeing […]morph (pronounced ‘Ellipsis Morph’), I’m glad I didn’t waste any brain activity trying to pick apart what was presented to me. It’s hard to describe exactly what the play is about. It consists of five actors, whose behaviours switch between that of playful children and of frightened animals. Projections of light define the barriers and mood of each new sequence. There is no spoken word, except for a song at the end. Because of this, I was more aware of other sounds, like the footsteps and breathing of the actors. In less than 45 minutes, the show was over and normality was restored.
Betch-a-Sketch
I unfortunately missed Sketchfest this year, so I’ve been looking to get my sketch comedy fix for a while. Luckily, Pope Joan (and friends) got what I needed. The show offered a variety of bite-sized comedic bits; there were musical parodies of well-known hits, a dance number with plastic bags and short videos were projected during costume changes. Accompanied by musical interludes provided by Sacha Crow, the five women cast members raced about the stage, embodying characters like mustachioed lawyers, elderly feminist militants and a can return machine. The sketches took shots at easy targets such as organized religion and Canadian culture. Overall, a very fun show.
Don’t Read the Comments
I ended up at this show on impulse, having no idea what to expect. It was set up like a talk show, in which the host and panelists debated about consent and the “grey areas” of sexual assault. That doesn’t sound too entertaining, but the catch is that the characters were over-the-top clown versions of a pussy-hat wearing feminist, an over-performative male feminist vlogger and a female politician intent on maintaining the status quo. Together, they used common arguments for consent, stretching them to lengths of exaggeration and buffoonery. As the panelists fell over each other in attempts to make their opinion heard, the host would gage audience reactions. The mood took a sharp turn for the serious when director Sarah Segal-Lazar came on stage, wearing no clown makeup, and shared a personal experience where her consent was violated. The details were very specific and by end of the story, I felt sick to my stomach. I supposed the moral is that in the process of debating consent, we tend to make clowns of ourselves, yet the subject is not to be taken lightly.
Is That How Clowns Have Sex? A One-Woman Queer Clown Sex-Ed Show
Performed by a real-life sex educator, Fiona Ross takes on the clown character of Beatrice. In the first five minutes, everything I had initially learned in sex-ed was lampooned in a juvenile puppet show. Beatrice then presents a revamped curriculum, with a better understanding of contraception, STI prevention and queer politics. Yet it was still explained in a humorous fashion, with mimed demonstrations and oddly shaped dildos. At the end of her lesson, Beatrice has an identity crisis when she realizes that is still only a “sexpert in training.” With the remaining time, Fiona removed her clown nose and answered audience questions about sex, which she collected on anonymous pieces of paper, stored in her homemade stuffed vulva. This was the sex education I wish I had in high school.
EXCLUSIVE: Dirt Cannon's "What Eats You" - PREMIERE on BVST
At long last, local Southern metalcore stalwarts Dirt Cannon are back with their 3rd full length, and BVST is extremely proud to bring you the premiere! Tune in on Wednesday, June 20th at 7PM to hear What Eats You for the first time ever. This is the record CJLO's metal director Andrew Wieler referenced when CJLO was profiled by Bandcamp, and now it's finally here!
Concert Review: La Luz @ L'Escogriffe, June 4th, 2018
Ever have one of those nights where you have two bands from two very different genres, play at the same time, at different venues? Well, imagine a concert where, on the same night and at one single venue, you could mosh to some garage punk AND sway and bop to some retro rock. Seems impossible? If this is your ideal Monday night, this past June 4th, L’Escogriffe put on a fantastic dual concert that satisfied musical flip-floppers like myself. Math punk rock band Gym Shorts from Rhode Island and retro doo-wop rock band La Luz from Seattle showcased some sick riffs and mellow ballads. More importantly, the night was full of talented and badass women.
You could see the hype and excitement outside of l’Escogriffe from a block away. People were flooding the entrance puffing away at cigarettes and joints, anxiously awaiting for the night to begin. The stench of sweat and beer mixed with the humidity set the atmosphere for the music that was to come. The sound of feedback called the audience to attention like the last school bell that lets out the anxious and impatient kids.
At the center of the stage was lead vocalist and guitarist Sarah Greenwall, whose intense eye contact seemed to communicate two things: I don’t give a f***, and I’m going to blow your eardrums. Their stage presence was hypnotic and they hadn’t even started yet. Once the music kicked off, the audience hypnotically started headbanging to the fast drums and intense riffs. They played songs from their most recent album WET WILLY from 2016 and their first album NO BACKSIES from 2014. Their old school rock and punk vibes felt a little like a modern-day The Runaways, but with more badass behavior. Most memorable lyrics: “Ding Dong Ditch, Your Mom’s A Bitch.”
Before Gym Shorts even took the stage, the atmosphere of L’Esco was hot and humid: just imagine how it was after an hour set of headbanging and moshing. Most people didn’t step out for fresh air or water, more people pressed in anxiously waiting for La Luz to take the stage. The dance floor was buzzing about the band, personal favorite songs, and expectations for the night. Very casually and nonchalantly, three of four of the members of La Luz walked onstage. Keyboardist Alice Sandahl was unfortunately back home with her family due to an emergency, but the audience came together to send good vibes to Alice. Despite her absence, La Luz put on an incredible performance, kicking things off with new content from their newly released album, Floating Features.
Lena Simon (bass), Marian Li Pino (drums), and Shana Cleveland (guitar/lead vocalist) worked beautifully together delivering mellow and California-esque tunes. They played crowd favorites like “Cicada” from Floating Features, and “Sure As Spring” and “Call Me in the Day” from the first album It’s Alive. They were at times delicate and relaxed, closing their eyes as if lost in their dreamy ballads and at times they were wild and indifferent women rock and rollers. In between songs they laughed and talked with the audience showing us their laid back west-coast coolness.
FRINGE 2018: What the Hell Happened to my Patio Furniture?!
What the Hell Happened to My Patio Furniture?! is improviser and storyteller Joshua Budman’s first Fringe show! After years of performing improv and volunteering at the festival, Budman created a hilarious and incredibly charming one-person show about the real life disappearance of his patio furniture from his 16th floor apartment.
Written and performed by Joshua Budman and directed by Jeff Gandell, is a magical and wildly inventive mystery. Budman’s excellent improv skills allow him to perfectly inhabit the bodies of several fun and strange characters. Armed with only a guitar and a wooden chair, Budman transforms Espace B into a fantastical version of Montreal. Budman is able to create so many beautiful, elaborate scenes with his amazing imagination. You’ll really feel like you’re standing on top of Budman’s apartment with him when he’s on stage!
What the Hell Happened to My Patio Furniture?! is surprisingly sweet and insightful. It is both an intense, furniture-themed crime adventure and a moving love story. Watching this heartwarming play will fill you with happiness, excitement and hope. You’ll be rooting for Budman as he steps out of his shell and starts opening up more and more throughout the show!
Budman is an outstanding performer and you can find watch him do improv at Montreal Improv and Théâtre Ste-Catherine on Sunday nights! Watching him perform is an absolute delight and an unforgettable experience!
What the Hell Happened to My Patio Furniture?! is a heart-warming furniture mystery of epic proportions! It ran until June 17th at the Montreal Improv Espace B located at 3713 Saint-Laurent, Montreal!
Patricia Petit Liang is part of CJLO’s Official Fringe Team covering the sights and sounds from the 2018 St-Ambroise Montreal Fringe Festival. She also hosts Fatal Attraction every Wednesday day from 12 PM – 1 PM, only on 1690AM in Montreal and online at CJLO.com.
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