Photo by Tom Mesic, Ars Electronica Opening (2018)
« Alexis Langevin-Tétrault wowed us with a visually arresting live set built around a series of ropes and sensors that had to be seen to be believed, pulling on the cords like he was trying to complete an assault course. » Fact Magazine
« Montreal’s Alexis Langevin-Tetrault proved a draw, as he reframed electroacoustic performance as full-body workout with the help of a custom-built instrument that looked like a Byzantine chest extensor. » Crack Magazine
« The physicality of Langevin-Tétrault’s performance would have been enough as a spectacle on its own, yet it was sonically very impressive too – harsh-gated nuclear fission synthesis filling every crevice of space. » Stray Landings
« Alexis Langevin-Tétrault, although on the louder side of the enjoyable, really made an impression with his steel construction – creating his micro electric thunderstorm. » Stereo Klang
« This is a digital sound sculpture as much as a musical performance. Although he is using a laptop he doesn’t refer it to at all through the performance, which is as a result much more unexpectedly visceral and emotional. He is battling and seducing the machine rather than playing it like a musical instrument: it’s a different kind of physical virtuosity. (…) Interferences looks like someone who has created a device to generate a time portal but is a powerfully compelling and highly-watchable exposure to a new digital language that is at once fleetingly familiar and alien. » The Reviews Hub, Mars 2018.