Musicien autodidacte, Aimé Dontigny travaille l’improvisation bruitiste depuis 1995 avec le collectif free-noise Napalm Jazz, qu’il a fondé avec Érick Dorion. Toujours en collaboration avec ce dernier, il s’intéresse à l’intégration totale des méthodes concrètes et urbaines en musique électronique par le biais du projet morceaux_de_machines. Il se produit régulièrement en spectacle avec diverses formations acoustiques ou électroniques.
Quebec City (Québec), 1975
Residence: Ottawa (Ontario, Canada)
- Performer (laptop, prepared CDs, electronic percussion, trumpet)
On the web
In the press
Tobias C van Veen, Dusted Magazine, June 1, 2003No Type presented a label showcase that enraptured the crowd, sucking them into a vortex of noise and improv electronic performances.
[…] Speaking of the No Type-ers… After what has been some public critique of Mutek, even on this list, No Type presented a label showcase at the Studio yesterday that enraptured the crowd, sucking them into a vortex of noise and improv electronic performances. […] No Type held attention despite the soundsystem’s relatively quiet range, with Samiland travelling a wealth of minimalist and dub territories, from sparse and deep broken beats to ambience, leading into the madness that was to follow: two sets of collaborative & improvised performances featuring A_Dontigny, first with the precise workings of veteran improvisational artist Diane Labrosse — on what appeared to be a theraemin device, at times; this performance was intricate, yet harsh in its metallic clamouring of sound-events. Then came morceaux_de_machines who, after an enthusiastic shout-out from Aimé, did not disappoint with his collaboration: vitriolic improvised noise from strange devices, high-pitched and jagged waves, from this real beast of a man, getting down and into it — morceaux grabbed the crowd and spun them round degree by degree. To end was Vancouver’s Coin Gutter, the enigmatic duo of Graeme and Emma carving out one of their more delicate and restrained sets, and, although improvised, moving through a taste of their sound, from experimental electroacoustic to noise, field recordings, media samples, and dark soundscapes. […]