The sacred sounds of Montreal, Canada

The sacred sounds of Montreal, Canada

Our Canadian contributors were busy during our Sacred Spaces callout, with a diverse range of sounds coming in from the creative city of Montreal, and an equally diverse range of reinterpretations.

Eric Boivin sent us several recordings from the churches of Montreal, the first of which comes from the Notre Dame Basilica, here reimagined by Mark Taylor in a piece called “Do Campanologists Dream of Electric Bells?”.

Mark tells us that the piece was created using Reaktor 5 and Kontakt 5 and hosted in Sonar X1, and says:

“All parts in this one, (except the electric piano solo), were created directly from fragments of the original field recording.

“Various snippets of the Quebec recording, (not just the bells, but other incidental noises as well) were loaded up into five granular samplers for extensive editing. The electric piano solo was performed using the Scarbee Mark 1 virtual instrument.”

City version:

Memory version:

Our second Montreal recording is by M Qaro, and is from Paperman and Sons Jewish Funeral Home.

Angel Muniz tackled this recording, writing:

“I chose this recording, because it reminded me of listening to my father sing in church when I was a child. It brought back some fond memories.

“Also, I just liked the idea of working with vocals and really looked forward to making something totally different out of the source sound.

“Right away I knew I wanted to create something using only the recording as the source. I started using some granular synthesis techniques but I wasn’t satisfied with the results.

“So, I ended up taking a more simple approach by sampling a few small sections of the source sound and making rhythmic patterns with the voice.

“After a lot of experimenting, the result was a killer sub bass (created using a snippet of singing, which was pitched down, distorted, and EQ’d/Limited) accompanied by some odd panned vocal percussive bits(source sound pitched up and time stretched with tremolo and panning modulation).

“I also tried making a decent kick out of the source sound, turned out not too shabby. My DAW of choice was Reaper and I relied mostly on stock plugins and freeware. Again, no other sounds were used besides the source recording.”

City version:

Memory version:

Eric Boivin’s second recording is bells ringing out the hour through waves of birdsong outside Montreal’s Christ Church Cathedral, which has been reimagined by Sofia Botero.

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Memory version:

Black Women

Black Women

Today we examine the prison song ‘Black Women’, with artists from Colombia and Australia delivering two very different takes on the original song.

Anthony Lyons, Sydney, Australia

the farmA”‘Weigh-Five Hundred’ reimagines the original recording of Black Women. It is partly ambient but also glitch and beat heavy in parts.

“I was drawn to three main qualities in the original recording – the soulful, bluesy sound of the grouped vocal, the persistent percussive stomping, and the imperfections or artefacts in the recording itself.

“I used both small fragments and longer sections from the recording.

“Some of these resampled parts were heavily manipulated through processes such as grain delays, pitch shifting, and reversing, while other parts were left as more clearly identifiable recurring short loops.

“Some of the smaller processed fragments became material for the glitched beats and pulses that build up and break down in layers.

:I included a few randomisation processes and the final recording comes largely from playing the prepared sounds and instrument devices ‘live’ then making just a few edits in the DAW.”

Sofia Botero, Bogota, Colombia

“My inspiration for this piece comes from my very own experience as a mother and housekeeper, and from the repetition that taking care of someone implies, as far as cooking, cleaning, caring, and cooking, cleaning, caring again and again, repeatedly, a never ending task, a rewarding, nonetheless heartbreaking commitment.

“As much as I find this song distressing, I also find it soothing. For reasons I can’t quite pinpoint, I found an echo, a graceful reverberation, of my own confinement.”