Alexis Langevin-Tétrault est un guitar hero de l’électroacoustique. Entre concert expérimental et art vidéo, matériel analogique et numérique, préméditation et improvisation, ses oeuvres interactives convertissent les mouvements en abstractions sonores et lumineuses.
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Les œuvres de ce créateur originaire de Baie-Comeau constituent des écosystèmes impliquant des dispositifs audiovisuels fondés sur des technologies numériques de pointe, mais aussi sur l’interprétation à la fois physique et théâtralisée.
Alain Brunet, PanM360
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Alexis Langevin-Tétrault wowed us with a visually arresting live that had to be seen to be believed, like he was trying to complete an assault course.
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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.
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Another of the more vivid performances came from Alexis Langevin-Tétrault, performing as part of Mutek’s curation of wonderful science-fiction oddities. 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.
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Alexis Langevin-Tétrault really made an impression with his steel construction – creating his micro electric thunderstorm.
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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.
Alexis Langevin-Tétrault 