The conductor, vocalist and alto saxophonist Joane Hétu brings her avant-pop background to these experimental tracks that employ the Ensemble SuperMusique.

The distinct title track opens with Sarah Albu’s inviting voice that acts like an instrument amid Julie Houle’s well timed tuba, and Elle n’est pas un animal arrives soon after with Luzio Altobelli’s bright accordion that suits the many voices and ‘found object’ type noises.

Landing in the middle, Avoir le motton welcomes Émilie Fortin’s animated trumpet and Noam Bierstone lively percussion to a very rich album highlight, while Lumière benefits greatly from Michel F Côté’s electronic manipulation alongside Albu’s expressive pipes.

Further still, Elle a dit oui has the voices layered strategically and Hétu’s colorful sax present with much creativity, and Elle qui est-elle? exits with a very animated demeanor that blends the wind, brass and percussion with distinct singing.

Mostly new but some older pieces are present, as Hétu fleshes out harmonics, rhythm, and strong attention to tonality with an iconoclastic spirit.

There are works that seek to fill space and others that listen to it. Dream of Heat, a cycle of six pieces, clearly belongs to the latter category: it is a work born of silence, of distance and of the need to communicate through sound when physical contact is limited. The duo formed by Ida Toninato and Jennifer Thiessen, already well established after years of musical rapport, here takes a decisive step towards a broader and more ambiguous language than in their previous works.

Toninato has built much of her artistic identity by working with reverberant spaces and the almost ritualistic dimension of the act of listening. In her previous projects, often recorded in distinctive architectural settings, sound is not just musical material but physical presence. This sensitivity is clearly perceptible in Dream of Heat: every breath of the saxophone seems measured, every resonance carries emotional weight. Thiessen, for her part, comes from a world that combines new music, improvisation and historical repertoire for viola and viola d’amore. Her writing and performance have a narrative quality, shaped by expressive texture and direction. Here, the viola becomes a thread that stitches the sound layers together with a constant delicacy.

The album is born from the meeting of these two artists and, in part, from the exchange of “sound postcards” during the winter lockdown of 2021. This is where the figure of Jason Sharp comes in. His synthesisers expand the duo’s harmonic and spatial field. The electronics act like a fog: it blurs contours, connects layers, and creates depth. Thanks to this, the album takes a leap forward from the more strictly acoustic character of their debut.

Likewise, another key element is the voice. The spoken and sung interventions—in French and English—transform the pieces into a kind of abstract song. This device brings fragility and intimacy.

The works revolve around the winter cycle of death and rebirth. What we are presented with is a metaphor translated into sonic processes. Sounds that fade away, others that reappear transformed, layers that slowly germinate in a sea of resonances and harmonic shadows, where every vibration seems to leave a trace and a memory.

The music unfolds like an almost geological process, in which each sound layer reveals a small mutation of what we have already heard, but never exactly the same. It is in this play of persistence and disappearances that Dream of Heat finds its poetic strength.

This second collaboration between Canadian composers Ida Toninato (baritone sax, voice, synthesizers) and Jennifer Thiessen (viola, voice, synthesizers) arose from a live show called Winter[City]Speaks, which they developed during a period of lockdown in the winter of 2021. A string-driven lament, I need warmth opens the album with an ancient, droning feeling that pulls you right into the narrative of “death and rebirth as manifested by the experience of winter.” Working with producer Jason Sharp, who also contributes synthesizers, they maintain a compelling tension throughout the six tracks, resulting in a song cycle that feels very complete. Even if you’re not connecting with the lyrics, in this long, cold, murderous winter of 2026, I think we can all relate when Toninato unleashes wordless shrieks in I am suffocating. Fortunately, the consolation of Change is the next song, ending the album with a feeling of peace, well-being, and community.

The album Dream of Heat by the duo Toninato & Thiessen is a sonic narrative about the cycle of death and rebirth, inspired by the experience of winter as a time of hibernation, withdrawal and inner transformation. The narrative arc of the album takes the listener from a state of isolated consciousness, immersed in the subconscious fears and hopes of winter dreams, towards a gradual warming, awakening and the renewed flow of life.

The project was originally conceived as the musical component of the performance Winter[City]Speaks, created by Ida Toninato and Jennifer Thiessen. This is their second joint release following the album The Space Between Us (Ambiances Magnétiques), which was nominated for Juno and Opus awards in 2019. The new material began to take shape in the winter of 2021, during the pandemic lockdown, as a series of ‘sound postcards’ exchanged between the artists whilst in isolation and seclusion.

These initial recordings were subsequently developed into fully-fledged compositions, expanding the duo’s original acoustic palette — comprising viola, viola d’amore, baritone saxophone and reverberant spaces — to include spoken and sung voices, original lyrics in French and English, electronics, effects and field recordings. The path leading to the creation of Dream of Heat was as personal as it was creative: it is a story of friendship, of opening new doors and portals, and of the courage to explore transformed forms of artistic presence.

The collaboration with performer and composer Jason Sharp on the production of the studio version of the album gave the six experimental tracks additional depth and scope, whilst retaining their roots in the instrumental craftsmanship and sonic imagination that define the work of Toninato & Thiessen.

Ambiances Magnétiques presents the second album by Toninato & Thiessen, which marks a significant departure from their acclaimed debut. The Space Between Us was very much an acoustic duet album that interwove Ida Toninato’s saxophones with Jennifer Thiessen’s viola; the forthcoming Dream of Heat (out 13 February on vinyl and digitally) enriches their core instrumentation with synthesizers and, above all, their voices to produce a collection of dark, hypnotic songs that trace winter’s cycle of death and rebirth. With Jason Sharp on synthesizers and as producer, these six tracks take on a rich orchestral quality that blends various currents of experimentalism with exploratory songwriting in a way that might appeal to listeners of Bark Psychosis, late-period Scott Walker, Nico and various artists on the Constellation Records roster.

L’année commence en force avec Le buffet (2025), quatrième offrande aussi loufoque qu’irrésistible du bassiste et compositeur Hugo Blouin. Après avoir mis en musique la commission Charbonneau sur Charbonneau ou les valeurs à’ bonne place volumes 1 (2018) et 2 (2022) et l’univers du hockey sur Sport national (2023), le musicien montréalais explore cette fois les conversations autour de la bouffe avec un ensemble de haut vol formé d’Eugénie Jobin Tremblay (chant), Marianne Trudel (piano), John Hollenbeck (batterie) et Aurélien Tomasi (vents).

Au fil des dix nouvelles pièces de Le buffet (2025), Hugo Blouin exalte nos jasettes culinaires et obsessions gourmandes au son d’un jazz exubérant et plein d’esprit.

Soupe pragmatique, Un art du temps et La sauce

Soupe pragmatique met la table avec son humour perché, ses éclats vocaux, son piano funky et ses vents espiègles, le tout tenu avec aplomb par le bassiste. Plus loin, Un art du temps explore des accents latins aérés et effervescents, alors que La sauce s’amuse à tirer la recette vers un jazz plus classique, mais jamais prétentieux, où l’on sent que le groupe prend véritablement et collectivement son pied. Preuve que la mayonnaise prend, l’écoute est sans effort et le sourire nous vient spontanément.

Du jazz sérieux et Plantée de chemin

On retrouve également l’humour décalé du bassiste sur Du jazz sérieux, des textes loufoques jusqu’au solo de balloune gonflable (brillamment exécuté) de la trompettiste invitée Émilie Fortin. Les textes chantés par Eugénie Jobin Tremblay embrassent pleinement la langue d’ici, la tordant et la chantant, toujours de manière très théâtrale. À travers ces détours, Hugo Blouin revendique un jazz qui refuse la prétention, comme sur Plantée de chemin où le groupe prend visiblement plaisir à faire déraper chaque convention au moment où on la croit établie.

Après tu manges et Pain-beurre-chocolat — l’humour d’Hugo n’est pas sans rappeler Frank Zappa

Pourtant, Le buffet (2025) n’est pas qu’une rigolade à prendre au cinquième degré. Il dévoile aussi de tendres bouchées, comme la ballade Après tu manges ou Pain-beurre-chocolat, souvenir sucré-salé chargé d’émotion sur fond de jazz feutré. À la fois absurde et satirique, l’humour musical de Hugo Blouin n’est pas sans rappeler celui de Frank Zappa, qui se plaisait à déconstruire les codes musicaux tout en livrant une performance impeccable. De même, le bassiste nous rappelle que la musique nourrit tout autant le cœur et l’esprit qu’elle peut dilater la rate.

Véritable festin pour qui aime un jazz aventureux, conceptuel, mais étonnamment accessible, Le buffet (2025) nous plonge dans un univers décalé à souhait, d’où l’on ressort le sourire aux lèvres avec l’envie de se resservir.