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AnatohlFR/QC

Anatohl<sup>FR/QC</sup>
AnatohlFR/QC

Anatohl is the pseudonym of French producer, DJ and artist Anatole Michaud. Raised in Zurich, nurtured in Paris’ electronic music clubs and now based in Montréal, Michaud released his first EP, Oiseau-Lyre, in November 2020 through Montréal label Kizi Garden Records, which he co-manages. A graduate of UQAM’s Creative Research in Experimental Media program, student member of the Hexagram network, active within Montréal’s underground scene and as a radio host, Michaud has over the years developed a musical universe that is both energetic and ethereal, giving birth to a 90s-influenced, bubbly Deep house that oscillates between powerful grooves and diaphanous layers. Anatohl’s productions have earned him some notable debut releases on illustrious labels such as Dance Till Death, Don't Should Records, Dance Petrol and, of course, Kizi Garden.

For his first MUTEK appearance, Anatole Michaud’s live set will feature a deep dive into the sound universe he built over the three years since the launch of his Anatohl project. Drawing inspiration from 90s-2000s Deep house, Dub techno, Electro, Minimal and Ambient, Michaud proposes a dynamic and visceral musical patchwork; groovy and at times bittersweet, melancholic and ethereal, filled with cavernous bass, sparkling percussion and stellar layers.

Who

Anatohl is the stage name of French electronic music producer, guitarist and DJ Anatole Michaud. Now based in Montréal, he also co-manages Kizi Garden Records.

Labels

Kizi Garden Records, Dance Till Death, Dance Petrol Records, Don’t Should Records

Latest

Low Profile EP (Dance Petrol Records, 2022)

Garaï EP (Don’t Should Records, 2022)

Oiseau​-​Lyre (Kizi Garden Records, 2020)

More

To complete his Master’s in Experimental Media at UQAM, Anatole Michaud held residency at the Hexagram network’s studio/dome – boasting 32 speakers – in order to delve into concrete music and sound spatialization. The result, titled Dans le four stellaire, is an immersive sound poem highlighting Francis Ponge’s poetry and bread as both a poetic and sonic object.