Tag Archives: Humidex Records

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Amethyst Deceivers

Esse Ran, “Mind Scanner,” Off Program (Humidex Records)

Félix Gourd aka Esse Ran performs at Parquette, 11 October 2025. Photographed for NicheMTL.

“Dreams are today’s answers to tomorrow’s questions.”
―Edgar Cayce

“Don’t let the little fuckers generation gap you.”
―William Gibson

Sooner or later, newer iterations will replace everyone.

The next generation has traditionally been understood as a de facto improvement upon its predecessors. But other than The Godfather Part II and Fletch Lives, what sequels have exceeded the quality of their originals? The film franchise of the American presidency is a case-in-point that 2.0 does not indicate a progression towards perfection.

The inevitability of replacement is cause for perennial concern as we fret over posterity. Fortunately, the future of techno, still the most forward-oriented musical form, seems to be in capable hands.

Irene F. Whittome, I am Here, Fondation Guido Molinari, 9 October – 10 December 2025

Irene F. Whittome « Histoire naturelle » (detail). Photographed for NicheMTL.

“Let your mercy spill
On all these burning hearts in hell
If it be your will
To make us well.”
—Leonard Cohen, “If It Be Your Will”

Recognizing patterns is a fundamental survival strategy. Remembering, for example, where food is found, or what the air smells like before a storm, can guide and protect us. All of life fits some pattern; there is no such thing as a random event. Zoom out far enough and you will see that what we perceive as chaos or chance is in fact divine design.

Daniel Lanois, Théâtre Maisonneuve, 5 October 2025

Daniel Lanois performs at Théâtre Maisonneuve, 5 October 2025. Photographed for NicheMTL.

Flesh is the surface interface of a complex and messy machine known as the body. It at once conceals and reveals what lies beneath it. Being our largest organ, skin is the site upon which corporeal operation is located.

We conceive of and make our machines accordingly, knobs and buttons functioning as smooth superficial control panels for intricate and impenetrable devices. Who knows what goes on beneath an iPhone screen?

The only time carnal and machinic background processes rupture the exterior is when they malfunction. The glitch is a confrontation with restless activity and existential agitation.

Brahms & Dvořák: The Splendour of Romanticism, Orchestre Symphonique de Montréal with violinist James Ehnes, Maison Symphonique, 25 September 2025

James Ehnes performs with the OSM at Maison Symphonique, 25 September 2025. Antoine Saito for the OSM.

And God shall wipe away all tears from their eyes;
And there shall be no more death, neither sorrow, nor crying,
Neither shall there be any more pain:
For the former things are passed away.
—Revelation 21:4

On a recent trip to Prague, I had the opportunity to visit the tomb of Antonin Dvořák. It is located at Vyšehrad Cemetary, a short walk from the Basilica of St. Peter and St. Paul, an impressive neo-gothic edifice constructed in the late 19th century, which the Bohemian King Vratislaus II founded 800 years earlier. The grounds of Vyšehrad are immaculately manicured, evidence of attention to detail over the course of millennia.

In North America, we simply don’t have that kind of history. Ours is really Indigenous history, which Europeans sought to obliterate when they arrived on this continent roughly 400 years ago.

Indigenous history was never intended for preservation. Native Americans were largely nomadic and their monuments, like Totem poles, for instance, were deliberately imagined to fall back into the earth. Eternity is a European concept, whereas Indigenous people favoured infinity.

Observing Dvořák’s grave inspired me to theorize why we commemorate the dead, especially those whom we revered in life. Vyšehrad Cemetery contains a large population of notable Czech interments. Somehow, even though I failed to recognize most of the names on the list, this knowledge filled me with an extra sense of reverence.

In the Christian tradition, the conception of Purgatory defines the intermediate state between the death of the physical body and the soul’s salvation. Purgo, the Latin verb, means to cleanse. Purging is a form of purification, and also, when taken to extremes, a compulsive disorder.

Prayer for the dead implies a belief in resurrection, or at least in some kind of afterlife. Almost every culture in the world implicitly assumes that death is not the end. It follows, then, that our universal understanding of time is cyclical. How life after death might occur is a matter for the imagination.

We might rise from the grave like some cheesy zombie movie. Or we might live on in other organic forms, transubstantiating into another kind of matter: flesh decaying into soil; soil nourishing a flower; nectar feeding bees; and honey sweetening someone else’s imminent cup of tea.

Pay your respects to the vultures for they are your future.

Autechre with Nixtrove and Mark Broom, Société des arts technologiques, 24 October 2025

Autechre performs at the SAT, 24 October 2025. Photographed for NicheMTL.

“During the paleotechnic period,” wrote the American historian of technology Lewis Mumford in his foundational book Technics and Civilization, “the increase of power and the acceleration of movement became ends in themselves: ends that justified themselves apart from their human consequences.”

What human consequences could Mumford have imagined from generalized acceleration?

The clock measured time and thus transformed it into an arbitrary unit of exchange.

The railroad enabled movement through space in a condensed period of time, quickening a passenger’s arrival in a new place, thus altering the natural experience and rhythms of travel.

Automated factories sped up the pace of production of consumer goods like cotton and sugar, bronze and steel, oil and gas, regulating the inventory of these commodities in the modern marketplace, thus making their value subject to temporal manipulation.

In the 21st century, we don’t remember or even consider a time before the evaluation of time. We only experience hints of organic duration in the form of unignorable biological cycles. After a period without food, we grow hungry. After a term of pregnancy, new life appears. After a season, snow falls.

The rest of the time, the railway, the factory, and the clock standardize time with increasingly granular precision, producing power by time’s spontaneous creation, and call attention to what Mumford described as the “maladjustment of function.”

More than autumn leaves or breaking glass, nothing makes you aware of the passage of time quite like a ticking metronome.◼︎

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NicheMTL is Montreal’s independent not-for-profit source for this city’s most niche arts and culture. If you love what you’re reading, please consider buying a yearbook and subscribing.

Cover image: Félix Gourd photographed for NicheMTL.

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Resistance Is Futile

CIBER1A, Contraxion, BOZAL (Humidex Records)

“We recognize that capitalism is no solution to the problems we face in our communities. Capitalist exploitation is one of the basic causes of our problem.”
—Huey Newton, “Black Capitalism Re-analyzed I: June 5, 1971.”

The Borg are perhaps the most intriguing villains in the fictional Star Trek universe, and the most emblematic of the contemporary moral dilemmas we now face.

Should one relinquish their sense of individuality to join the “hive?” Should one embrace questionable ethics in order to succeed under capitalism? And now more than in the previous generation — which, ironically, was The Next Generation — should one fuse one’s biological self with cybernetic implements like A.I. and virtual reality to realize the experimental post-humanist project?

The Borg’s modus operandi was assimilation, assigning converts numbers as a prison would a convict. Their most dreaded dictum was “resistance is futile,” implying superficially that any struggle to oppose assimilation was useless.

We might feel that way metaphorically with regard to the onslaught of seemingly monstrous events that keep occurring: escalating global conflicts, the rightward turn politically of our nearest neighbours, and the general sense that progressivism and classic liberal ideals have stalled.

Resistance as a political strategy ceases being effective because a certain amount of resistance is essential and can in fact strengthen the system. Capitalism is capable of digesting small interventions and using them as nutrition. Anyone who has ever squeezed a garden hose to create a gushing spray of water understands the concept of impedance.

If resistance is to triumph against neoliberal accelerationism, it must be sustained en masse or not at all.

Chloe Majenta, Enantiodromia, Artch, 16-20 October 2024

“What if the domain of politics is inherently ‘sterile,’ the domain of pseudo-causes, a shadow theatre, but nonetheless crucial in transforming reality? What this means is that one should accept the gap between sterile virtual movements and the actuality of power.”
—Slavoj Žižek, In Defence of Lost Causes.

The analytic impetus in troubled times is to search for historical precedents, scrubbing back and forth over history for some period when our ancestors were capable of overcoming similar obstacles under comparable circumstances.

But troublingly, the present moment is more and more discursively described as “unprecedented.” For example, never in the history of the United States was a convicted felon elected president. You need a police check to get a job at Wendy’s, but any common criminal can now occupy America’s highest office.

So, the tactics for victorious political battles must also be without precedent. The weapons of the 20th century Left — protest, activism, even satire — will no longer suffice. We must emancipate hatred and fear with unified hope and love.

Nadia Myre, Robert Myre, & Guido Molinari, Tout geste est/et politique, Fondation Guido Molinari, 31 October – 22 December 2024

Robert Myre, Tout geste est/et politique. Photographed for NicheMTL.

“Only prisoners have time to read, and if you want to engage in a twenty-year-long research project funded by the state, you will have to kill someone.”
—Mark Fisher, “Time-Wars: towards an alternative for the neo-capitalist era.”

Capitalism is not so much a socioeconomic model as it is a code, like an operating system upon which the apps of our daily reality run.

As an ideology, capitalism seldom reveals itself — except in those moments when the real-world friction of its true unpredictability becomes exposed. In this way, capitalism is more like a computer virus, lurking just beneath the cool surface of the interface.

For instance, this week, I tried to deposit two twenty-dollar bills into an ATM and the machine malfunctioned and ate one of them. The expressed disappearance of symbolic capital was a stark reminder of capital’s intrinsic and eternal ethereality.

What buoys our perception of reality is our belief in it. Money only exists and exerts power because we agree it does. If we were to stop agreeing, it would evaporate like an apparition. There is enormous creative potential in reimagining a world void of capital.

N. Katherine Hayles writes in her 2006 article, “Traumas of Code:” “…code is a virulent agent violently transforming the context for human life in a metamorphosis that is both dangerous and artistically liberating.”

Cindy Hill, A Bell I Never Hear, Centre CLARK, 31 October – 7 December 2024

Cindy Hill, Bridal Fantasy (2024). Photographed for NicheMTL.

“Information speeded up, slowed down, permutated, changed at random by radiating the virus material with high-energy rays from cyclotrons, in short we have created an infinity of variety at the information level, sufficient to keep so-called scientists busy forever exploring the ‘richness of nature.’”
—William S. Burroughs, “Technical Deposition of the Virus Power.”

Replication and difference are the only significatory tools we have to remind ourselves that the world is fundamentally a simulation. Nothing represents replication and difference more hilariously than the mechanical bull.

Why anyone would want to ride a flesh-and-blood bull is in itself approaching the apex of absurdity. The existential unnecessity of bull riding is confronted only by its apparently high stakes in meatspace, the wild animal’s capricious chaos.

Remove the chaos, however, or reduce it to repetitive mechanical gestures, and tragedy — and its capacity for trauma — transforms into farce. Simulation itself is doubled, like constructing scaled down replicas of the twin towers and annihilating them again.

The performance of risk deactivates the façade of catastrophe.

Sunset Rubdown with Sister Ray, La Sala Rossa, 29 October 2024

Sunset Rubdown perform at La Sala Rossa, 29 October 2024. Photographed for NicheMTL.

Oh the world is a beautiful place
to be born into
if you don’t much mind
a few dead minds
in the higher places
or a bomb or two
now and then
in your upturned faces
—Lawrence Ferlinghetti, “The World is a Beautiful Place.”

I watched in awe on the metro this week as a boy of about 12 almost unnaturally rapidly unscrambled a Rubik’s cube. It restored in me some measure of hope that the next generation may be better equipped to solve the world’s old puzzles.◼︎

Thank you for inviting NicheMTL to your thing. Please get in touch at the about page.

NicheMTL is Montreal’s independent not-for-profit source for this city’s most niche arts and culture. If you love what you’re reading, please consider subscribing.

Cover image: Chloe Majenta, The High Priestess (2024) Oil on cotton mounted on wood panel. Photographed for NicheMTL.

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999 Words

Gonna Make You Sweat: in conversation with Félix Gourd

Industry mechanized modern life. A sense of self-awareness made the mechanical post-modern.

As culture in the 21st century pushes past modernity’s afterword, a new zeitgeist of hybridity characterizes our current moment — a simultaneous collapsing of past, future, and the now.

No music captures and encapsulates this post-human condition more than techno, its automated rhythms mimicking the machinery of industry, while its groovy organicity speaks directly to the human body’s corporeality.

Félix Gourd, who currently records and performs as Eƨƨe Ran and heads Montreal’s premiere techno imprint, Humidex Records, understands this dichotomy.

“The groove in techno is what helped make it so popular,” Gourd tells me, from across a picnic table in Little Italy’s Dante Park. “People could relate to it, physically. Their bodies could be involved. It’s what drives you.”

Humidex Records celebrates its 5th anniversary in 2024, having begun operations just prior to the pandemic.

The label’s first offering was a three-song compilation featuring works from each of its co-founders: Leticia Trandafir, aka softcoresoft; Simon Chioini; and Gourd, who at that time operated under the name Absurde.

Trandafir since departed to work with Ableton, the music technology company, and Chioini is pursuing a Ph.D., leaving Gourd alone in the driver’s seat.

“Honestly, the biggest challenge for me is doing everything almost by myself,” Gourd admits. “It’s a lot of time — for practically no income.”

Nonetheless, Humidex is thriving, having recently released Timbres Oblit​é​r​é​s by Montreal producer Errance, a self-financed cassette comprised of soundtrack music composed for Rodrigue Jean and Arnaud Valade’s Maple Spring documentary film entitled 2012/Through the heart, and Patterns / Threshold, a four-track 12-inch split EP of club cuts from Measure Divide and Gourd’s own Eƨƨe Ran.

And on Friday, June 7th, Humidex fêtes its half-decade with a proper knees-up at the Société des arts technologiques, showcasing live performances by Pascale Project, Amselysen & Racine, and the Detroit-based headliner, 2Lanes.

“I got really excited listening to his stuff,” Gourd tells me. “He has old-school influences.”

Gourd, 33, was born and raised in Montreal, having lived his entire life within the Hôtel-de-Ville-Plateau-Mile-End district. His parents were artistically minded, enrolling him in piano lessons at age nine, and encouraging Gourd to pursue a creative life path.

“My mom loved classical music,” Gourd recalls, “and my dad was friends with all the Musique Actuelle community.”

Gourd studied percussion at École secondaire Pierre-Laporte and was a young fan of French Touch and British Drum & Bass music.

“In high school, I was really into Justice, MSTRKRFT, Sebastian, Daft Punk. I remember going to a Daft Punk concert when I was a teenager. Also, a lot of Mr. Oizo, Squarepusher, Aphex Twin, Venetian Snares. Weird rhythms,” explains Gourd of his adolescent influences.

“Because I was studying percussion, I was really interested in different types of rhythms and sonorities.”

Travelling to Berlin in the early 2010s, Gourd encountered the viscerality of techno in a large club for the first time. He returned to Montreal and immediately connected with this city’s underground rave scene, completing the Intermedia Cyber Arts programme at Concordia and working as a visual artist and VJ for various local musicians.

Gourd turned his attention in 2017 back to musicianship, beginning with modular synthesis and improvisatory electronic music.

“I always enjoyed a powerful kick drum,” Gourd says, “the effect that it has on your body.”

Gourd and Chioini collaborated on a live hardware music project called Musique Nouvelle, performing at Mutek’s franchises in Mexico and Buenos Aires before launching Humidex with Trandafir in 2019.

“Leticia’s vision was to focus on Canadian techno,” Gourd explains. “Simon comes from the more experimental and academic background, and I wanted to make more experimental dance music. We did a bunch of parties that summer, and all of our DJ fees would go back into the label to finance further releases. But then the pandemic came.”

The strict global coronavirus measures meant that live music fell silent and the label “slept for a few years,” as Gourd recounts. But he continued to produce recordings, releasing an album of dark, atmospheric bangers called Derelict Memories in 2022, and Constant Decay, a crunchy and throbbing three-song EP, in 2023.

Although Humidex’s roster is small, the label quickly garnered a mythic reputation along the lines of Juan Mendez’s Jealous God, or the legendary Sandwell District collective. Eƨƨe Ran’s tracks in particular could drop seamlessly within a DJ set of Regis or Surgeon, some of the genre’s heaviest hitters.

In addition to helming Humidex, Gourd is presently producing music for the Montreal choreographer Andrea Peña’s dance company.

“It has these two faces: techno and experimental,” Gourd says, describing the project. “It’s weird and unconventional. There’s lots of ambience. But sometimes there will be a looped rhythm. Dancers need rhythm. And the work she does is really intense for the dancers. They’re like athletes. They’re like beasts. Sometimes I need to feed them something.”

Although Gourd draws from across the spectrum of international electronic music’s subdivisions and scenes, there is still a quintessentially Montréalaise quality about his compositions, an indefinable note of the Quebecois carnivalesque.

These are records that yearn for a late-night dancefloor, that land hardest in the live context, where music is experienced as collective and cathartic and transcendent. They also bridge the gap between languages and civilizations, fusing influences from Europe and America and distilling them into something distinctly chez nous.

“What’s unique about Montreal is that it’s very accessible to make art. The rents are still low, and we need to do everything possible to keep it that way. I mean, the CAQ’s recent abolishing of lease transfers is outrageous, their corporate mindset and total indifference towards people in precarious situations is threatening Montreal’s and Quebecois culture. But life is easier here — in comparison to bigger cities like Toronto, New York, or London. There, you need to have two or three jobs to pay for your small apartment.”

Ours is a city of monumental industrial history, timeworn warehouses and factories-turned-ateliers haunting every neighbourhood like ghosts of a revolution that modernized and transformed western society.

“Techno was not born in Quebec,” says Gourd. “So, we definitely appropriated something that comes from elsewhere. But that’s why Montreal is so rich, culturally,”

“It’s a meeting point of different cultures.”◼︎

Humidex Records celebrates its 5th anniversary 7 June 2024 at SAT, 1201, Boulevard Saint-Laurent.

Cover image: Anna Arrobas

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Ring Them Bells

Errance, with Joël Lavoie, and Philippe Vandal, La Sotterenea, 25 April 2024

Left: Joël Lavoie; Right: Errance perform at La Sotterranea, 25 April 2024. Photographed for NicheMTL.

“What good am I if I know and don’t do,
If I see and don’t say, if I look right through you,
If I turn a deaf ear to the thunderin’ sky,
What good am I?” —Bob Dylan

In The Divine Comedy, the well-known fourteenth-century Italian trilogy by Dante Alighieri, the poet Virgil leads the author through Hell and Purgatory.

Finally, Dante is pointed toward Paradise by Beatrice di Folco Portinari, a character symbolic of God’s loving grace.

It seems that Beatrice got the cushy job, while Virgil drew the short straw. Not only did “Bice,” as she was known amongst her squad, manage to avoid the underworld’s mud and blood and beer, but she also served as tour guide to just one — and obviously the best — of the three divine realms.

Virgil, on the other hand, had to pull a double shift in the Infernal rings and the apparently never-ending drone of Earthly life. Plus, there were no unions back then, so going on strike wasn’t an option.

Sara Mericle, Infinite Vessel, Ateliers Belleville, 22 April 2024

Sara Mericle, Net (2023), ceramic and metal. Photographed for NicheMTL.

Ye have sown much, and bring in little; ye eat, but ye have not enough; ye drink, but ye are not filled with drink; ye clothe you, but there is none warm; and he that earneth wages earneth wages to put into a bag with holes. —Haggai 1:6

Steve Bates, with Elizabeth Anka Vajagic, Mark Molnar, Timothy Herzog, and Sam Shalabi, Casa del Popolo, 29 April 2024

Steve Bates and friends perform at Casa del popolo, 29 April 2024. Photographed for NicheMTL.

From an ocean of noise, harmony differentiates itself.

Though noise and harmony are not mutually exclusive. Noise contains every frequency. Like sculpture, all that is necessary to reveal Heaven’s eternal song is to chisel the extraneous bits away.

Bourgie Hall’s 14th Season Launch, Bourgie Hall, 30 April 2024

Charles Richard-Hamelin performs at Bourgie Hall, 30 April 2024. Frédéric Faddoul for Bourgie Hall.

“THE TEMPERAMENT — MIDDLE — Circling and circling, I mold my temperament, urging the unruly into balance. Each interval must blend with the next interval, which must blend with the next … and back to the beginning. In the center we make a secret well together, this piano and I, to drown the leftovers. It is Nowhere.” —Anita T. Sullivan, The Seventh Dragon.

Beethoven’s Poetic Fourth Piano Concerto, Maria João Pires with The Orchestre Symphonique de Montréal, Maison Symphonique, 24 April 2024

Maria João Pires performs with the Orchestre Symphonique de Montréal, 24 April 2024 at Maison Symphonique. Antoine Saito for the Orchestre Symphonique de Montréal.

The clavier-style keyboard is a standard that brought music to the masses.

Yes, it’s a compromise. There aren’t any notes between its twelve tones, and there is a sense of bureaucracy about sitting down at what is essentially a musical desk, typing out a tune.

But the gift of portability and universality that the keyboard has given to the world is worth orders more than its conciliatory limitations. There is no other instrument that can bring a place to life, to fill a space with joy, wonder, and magic, quite like a piano.

A piano in the right hands is just enough of a music machine, no more and no less than perfect.

Quiet Night, 163 Av. Van Horne, 26 April 2024

Xander Simmons and friends perform at 163 Av. Van Horne, 26 April 2024. Photographed for NicheMTL.

“Happy are those who have what they need and no more.” —Saul Ha-Levi Morteira

In a time of war, famine, and death, it is vanity to seek out greater abundance when others are struggling for basic survival. But if one pursues only bare necessity, they will invariably find more than what they were looking for.

Such was the case last Friday evening when I attended what was billed as a “Quiet Night,” organized by Illy Duval in a cozy loft space on Van Horne. I arrived to find the room packed to the rafters with standing room only, except for a seat on the armrest of a battered old couch.

« Confortable? » asked the girl sitting next to me, smiling.

« Pas pire, » I replied, my legs awkwardly splayed akimbo.

Though I felt claustrophobic and couldn’t help but think, with scores of burning candles inserted precariously into empty bottles, of the Ghost Ship warehouse fire, I stayed and immensely enjoyed the music and the scene for as long as possible and ducked outside during an intermission.

Beneath the Van Horne overpass, I watched a group of skateboarders smoking weed and doing ollies and rail slides and was grateful for having had a reason to leave — both my house, and the gig I’d come to see.

Skateboarders underneath the Van Horne overpass, 26 April 2024. Filmed for NicheMTL.

Sandeep Bhagwati, How to inhabit these different temporalities?, Museum of Fine Arts, 21 April 2024

A patron rests in the contemporary art gallery of the Museum of Fine Arts, 21 April 2024. Photographed for NicheMTL.

“People don’t know what they want any more. People are only sure about what they don’t want. The current processes are processes of rejection, of disaffection, of allergy.” —Jean Baudrillard, “The Violence of Indifference.”

The tyranny of mediocrity despises competition, finding every possible means to suppress it. The resistance of excellence, however, welcomes competition as the essence that makes the good better, the great greater still.

Lolina, with Man Made Hill, Tenses, and Please, Brasserie Beaubien, 27 April 2024

Catherine Debard performs as Tenses at Brasserie Beaubien, 27 April 2024. Photographed for NicheMTL.

We might imagine Hell as the past, Purgatory as the present, and Heaven as the future.

Certainly, there is an implied chronological teleology to history, where life is supposed to get better with time, progress bringing more knowledge as some ultimate form of truth emerges victorious.

This process appears to have reversed. Time is running backwards as the present reiterates Hellish precedents.

Alice De Visscher & Evamaria Schaller, Le Centre CLARK & Le lieu, Ateliers Belleville, 2 May 2024

Alice De Visscher & Evamaria Schaller perform at Ateliers Belleville, 2 May 2024. Photographed for NicheMTL.

Alchemy is most commonly conceived as the transformation of lead into gold. But alchemy according to philosophers is understood as a spiritual process of transformation, embracing those parts of ourselves that we might think of as weaknesses and converting them into strengths.

Gold is the most precious of all earthly metals, superconductive, malleable yet solid, ambivalent, associated with the sun, the celestial body where universal life originates. The Swiss psychoanalyst Carl Jung wrote, “Just as the physical sun lightens and warms the universe, so, in the human body, there is in the heart a sunlike arcanum from which life and warmth stream forth.”

Springtime represents the return of the sun, and thus accelerates matters of the heart.

Spring Symposium, Librairie Saint-Henri Books, 25 April 2024

Patrons attend the Spring Symposium at Librairie Saint-Henri Books, 25 April 2024. Photographed for NicheMTL.

My idea of Heaven is a place surrounded by all words, where no thought or feeling is misunderstood, where there is total communication, a way to say everything.

My idea of Heaven is also a place where there are no words, where nothing requires understanding because all is already known, and language is an obsolete technology.◼︎

Thank you for inviting NicheMTL to your thing. Please get in touch at the about page.

NicheMTL is Montreal’s independent source for this city’s most niche arts and culture. If you love what you’re reading, please consider subscribing.

Cover image: Sara Mericle, Sun Bleach (2023), porcelain and glaze.

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