Alexandre Bilodeau

Né en 1984, Alexandre Bilodeau produit des fusions musicales électroniques depuis 1998. Il mélange influences hip-hop, techno, dub et ambiences électroniques dans sa musique qu'il classifie de radiophonique futuristique; un son pop pour les années B venir. Il habite en Acadie, le pays oublié des premiers colons français en Amérique du Nord, oj il parle une langue métisse de vieux français et de termes anglophones: "Ej peut driver à l'airport mesque a débarque".

Alexandre est aussi producteur pour le groupe hip-hop/électronique Jacobus et Maleco. Ils ont sorti leur premier disque en 2003 intitulé "La gueule de bois". Il a aussi sorti en 2004 un disque en solo de tech-house paisible et dubby intitulé "Wois-tu ça?". Ce disque est disponible gratuitement sur ACADIEURBAINE.NET.

Ni doué en langue écrite, ni en dessin, Alexandre communique le mieux B travers sa musique. Elle parle d'un futur qui est dPja parmis nous. Un futur oj tout est cyclique, délayé, modifié et accéléré et où la musique électronique est une grosse hamac suspendue par dessus un monde de plus en plus robotique.

http://www.acadieurbaine.net/alexandre
http://www.jacobusetmaleco.com

alexandre@acadieurbaine.net


Born in 1984, Alexandre Bilodeau produces musical fusions since 1998. He mixes electronic, hip-hop , techno, dub and ambient sound influences into his music which he classifies as radiophonic futuristic. A pop sound for the years to come. He lives in Acadie, the forgotten country of the first French colonists in North America, where he speaks a mixed language of old French and anglophone terms: "Ej peut driver à l'airport mesque a débarque".

Alexandre is a also producer for the hip-hop/electronic group Jacobus and Maleco. They released their first disc in 2003 "La gueule de bois". Alexandre also released a solo disc of peaceful and dubby tech-house entitled "Wois-tu ça?" in 2004. This disc is available free on ACADIEURBAINE.NET.

Neither gifted in written language, nor in drawing, Alexandre communicates best through his music which speaks of a future which is already among us. A future where all is cyclic, rhythmic, looped, modified and accelerated and where electronic music is large a hammock suspended over an increasingly robot-like world.

http://www.acadieurbaine.net/alexandre
http://www.jacobusetmaleco.com

alexandre@acadieurbaine.net

POLYGON RELEASE: Bonze Deluxe EP

Deemah

Dmitry Meshcheryakov is a Halifax electronic musician who immigrated to Canada from Russia in 2000. After several years performing in rock bands, he moved to Moscow and formed the DSM Formation (previously Devil Stone Medicine), whose album "Medved Malun" was released on Cosmos Productions and received acclaim from Moscow music critics. In 2000, he moved to Halifax, Nova Scotia, where he's been producing music for both the head nodders and the booty shakers ever since. These days he's getting attention as a skilled house producer, and has just been signed to Toronto's Slush Records with a three 12" album deal. His music has also appeared on the Dig Your Roots electronic dance compilation, and has recently won a DJ Dan remix competition.

Errand Boy

Before Errand Boy's internationally acclaimed debut, Touch Fuzzy, Get Dizzy, was released in 2004, bold, unashamed confessions of love and intentions to make out with Errand Boy were rare commodities -- whether from the same sex or otherwise. Suddenly, as if from nowhere -- but, in fact, from the dirt road in Torbay next to Metal World -- arrived a talent that was simultaneously modest but mighty, sass-infused but rigorously intelligent. Critics and audiences, from London to Tokyo to Toronto to Manuels, declared Errand Boy and creative linchpin Bryan William Melanson a songwriter of rare compositional and overwhelming super-brilliance. "[Touch Fuzzy, Get Dizzy] is one of the most melodically seductive and exhilirating records of recent times," wrote David Bowie in his private diary; R.E.M's Peter Buck and former Blur guitarist Graham Coxon haven't heard it, and they never will because they left some kickass bands and have no place in Bryan's heart... Bryan has recorded music in his bedroom/kitchen for the past 2 years using some programs he didn't pay for.

His follow-up, 2005's Bachelor of Commerce, will consolidate Bryan's reputation as a writer who, seemingly without effort, subverted the conventions of the love song, creating miniature electronic epics that cost a shoestring but sounded as if they were spun from gold. Comparisons to The Flaming Lips, The Magnetic Fields' Stephin Merritt and fellow Canadian Leonard Cohen make no sense, but nobody's said anything like that so this sentence is kind of a waste of your time.

Comfortingly familiar and yet a quantum leap beyond its predecessor, Bachelor of Commerce bears all the hallmarks of Russian Futurists Errand Boy recordings -- insinuating melodies, ingeniously grand low-budget arrangements, crap about loves lost and found -- but is fuller, wiser, sadder and giddier than before.

"Bachelor of Commerce was made in the same way as all my sandwiches: in my kitchen," says Bryan. "I've been doing songs long enough to know what works best for me, and doing it in my kitchen with little kids looking over my shoulder every 5 minutes is where it's at. I can avoid having to walk too far when I want some Oreos and i'm free to just make the music I want to make without over-thinking the Oreo retrieval process...."

Bring your hyperbole -- and a box of tissues. Errand Boy is up in that ass.

(99% stolen from the Russian Futurists bio...listen to them, they're better than me)

Read more at www.errand-boy.net.