Innovations en concert is delighted to co-present the second annual edition of Montreal’s FLUX FESTIVAL, a  Montreal experimental music which will take place from October 1 to 11, 2025 offering a unique mix of concerts, workshops, roundtables and launches! 

A co-presentation with NO HAY BANDA and Arts in the Margins

Making their Canadian debut, BEAM SPLITTER is a duo for amplified voice, trombone, and analog electronics formed by vocalist Audrey Chen and trombonist Henrik Munkeby Nørstebø. BEAM SPLITTER’s ecstatic personal language combines highly-amplified and extended vocal and instrumental techniques with analog electronics, crafting raw and visceral physical play that stretches the corporeal limits of the voice and trombone. Sharing a common sense of pulse and an innate understanding of how they confront and abandon each consecutive moment, the duo strikes a captivating balance between fragility, intimacy, ecstasy and measured control. BEAM SPLITTER have been touring globally since 2015, playing over two hundred concerts in a wide variety of spaces and contexts on five continents, bringing their own brand of highly amplified dialog, which is as intimate as it is equal amounts raw and entirely exposed.

A performance by two imaginative sound artists. Anne-F Jacques is an artist based in Montreal, interested in amplification, erratic devices and trivial objects. Ryoko Akama is a Japanese-Korean artist working with installation, performance and composition, residing in Huddersfield (UK). Anne-F and Ryoko have been working together since 2016, an ongoing collaboration that involves sharing ridiculous ideas, failed or dangerous experiments, and occasional performances and releases.

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Flux Festival is a collaboration initiated by Arts in the Margins with:  Canadian New Music Network /daphne/EAF /International Institute for the Critical Studies in Improvisation / Interzone / Le Vivier / Mardi Spaghetti / McGill University’s Laboratory of Urban Culture / Québec Musiques Parallèles /  Small Scale Music

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We would like to thank the Conseil des arts et des lettres du Québec, the Canada Council for the Arts, the Conseil des arts de Montréal, and the SOCAN Foundation for their support.