A key figure in Montréal’s eclectic experimental community, self-taught musician and visual artist Jesse Osborne-Lanthier molds disconcerting sonic worlds by combining modular synthesizers with digital processing tools, while also drawing from a rich arsenal of field recordings, classical instruments, tape reels and recording hardware. Turned on to the endless potential of otherworldly, contrasting signals, Osborne-Lanthier’s conceptual practice conjures up slightly menacing realms that operate outside the bounds of musicality. Operating under many pseudonyms, Osborne-Lanthier also composes scores for film and contemporary theatre, and thrives on collaborating with a like-minded entourage – artists such as Hobo Cubes, Bernardino Femminielli and Marie Davidson. Grischa Lichtenberger is a Berlin-based multidisciplinary artist signed to cult German label Raster Noton. As evidenced by his evocative ~Treibgut EP (2009) and the equally abstract noise fragments showcased on full-length LP And IV [inertia] (2012), Lichtenberger and Osborne-Lanthier are both interested in an open-ended creative process, discarded technology, meticulously crafted field recordings and serious synth manipulation. It’s all part of their ever-evolving, leftfield study of sound. After presenting Deliquescent at Elektra 2013 – an immersive A/V performance, with Sabrina Ratté, that explored the analog/digital rift beyond that elementary dichotomy – Osborne-Lanthier is back for EM15 accompanied by Lichtenberger and their collaborative performance, Conversations sur Lettres Mortes. A special homage to that cherished artifact from our childhoods, the television, Osborne-Lanthier and Lichtenberger tinker with cathode ray tubes in unthinkable ways to conduct a glowing, glitch-laden A/V symphony.