From A Closer Listen:
Come summer Montreal becomes a parade of constant festivals. Suoni per il Popolo (Sounds for the People) remains my favorite festival because it’s really an anti-festival; it’s a well-curated concert series that rewards attention and reflection. The way that the taste of a good scotch unfolds on your palette, the space between concerts lets the experience linger and deepen, rather than being immediately drowned out in a flood of performers seeking your attention. A casual glance at the Suoni programming might suggest a random grab-bag of weird music. What united weird psychedelic folk from Vermont with free improv, or ethereal ambient melodies with classical composition? At closer inspection Suoni is a nexus point in which these diverse players and scenes overlap. Forget six-degrees of separation, the web connecting the artists of Suoni is dense and direct. Rhys Chatham is a central node, his guitar orchestras the missing link connecting avant-garde classical music with wall of sound guitars.