Donna Summer (US)

Canadian DebutDonna Summer is an inexhaustible machine that compresses and crushes time. A self-stylized sample terrorist, this American artist has insisted on bearing the heavy burden of dethroning the musical excesses of 1970s progressive rock and disco. Where numerous attempts at this have bent over backwards and failed, the demonic Forrest succeeds, perhaps because he doubles as a being both cultivated and roguish! The German label Sonig, reputed for their experimental releases, unaccustomed to delivering naïve works, were not mistaken; Jason Forrest's new album for the label, The Unrelenting Songs of the 1979 Post Disco Crash, contains a reservoir of references edited in such a way as to generate frenzied and captivating rhythmic beacons, an effort true to our times. And this wild appropriation, which Jason Forrest attacks and contorts during his entire show, is an ocean in which audiences cannot help being swept away.

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MÉTROPOLIS 2

Métropolis 06/06/2004

Canadian DebutDonna Summer is an inexhaustible machine that compresses and crushes time. A self-stylized sample terrorist, this American artist has insisted on bearing the heavy burden of dethroning the musical excesses of 1970s progressive rock and disco. Where numerous attempts at this have bent over backwards and failed, the demonic Forrest succeeds, perhaps because he doubles as a being both cultivated and roguish! The German label Sonig, reputed for their experimental releases, unaccustomed to delivering naïve works, were not mistaken; Jason Forrest's new album for the label, The Unrelenting Songs of the 1979 Post Disco Crash, contains a reservoir of references edited in such a way as to generate frenzied and captivating rhythmic beacons, an effort true to our times. And this wild appropriation, which Jason Forrest attacks and contorts during his entire show, is an ocean in which audiences cannot help being swept away.

PANEL 8

McGill University Residence 04/06/2004

Canadian DebutDonna Summer is an inexhaustible machine that compresses and crushes time. A self-stylized sample terrorist, this American artist has insisted on bearing the heavy burden of dethroning the musical excesses of 1970s progressive rock and disco. Where numerous attempts at this have bent over backwards and failed, the demonic Forrest succeeds, perhaps because he doubles as a being both cultivated and roguish! The German label Sonig, reputed for their experimental releases, unaccustomed to delivering naïve works, were not mistaken; Jason Forrest's new album for the label, The Unrelenting Songs of the 1979 Post Disco Crash, contains a reservoir of references edited in such a way as to generate frenzied and captivating rhythmic beacons, an effort true to our times. And this wild appropriation, which Jason Forrest attacks and contorts during his entire show, is an ocean in which audiences cannot help being swept away.
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