MUTEK Montréal’s Drum Solo: Why Creativity Starts With Listening

MUTEK Montréal returns from August 25 to 30 with electronic music, digital creativity and live performance across the Quartier des spectacles. On August 30, the festival’s official program presents Swiss drummer and percussionist Julian Sartorius in a free North American premiere at esplanade Tranquille, followed later by Matthew Herbert & Julian Sartorius — Drum Solo during Nocturne 5 at the Société des arts technologiques. MUTEK describes Sartorius as an artist who finds hidden tones in prepared instruments and everyday objects. For drum students, that makes the event more than an experimental showcase: it is an invitation to listen differently before adding anything new to the kit.

A drum sound begins before the note

Two hits can land at the same time and still communicate completely different ideas. Where the stick meets the head, how high it begins, how firmly it is held and what happened in the previous beat all shape the result. Electronic music can magnify those details, but the principle belongs to every acoustic groove too. Before searching for another sample or cymbal, explore the centre and edge of one drum, the tip and shoulder of the stick on the hi-hat, and three controlled dynamic levels. A small change in touch can create a new arrangement without adding a single piece of equipment.

The myth: creativity requires more gear

Here is the idea worth challenging: a larger collection of sounds does not automatically produce a more original drummer. New instruments can be inspiring, but unlimited choices can also hide weak timing or an unfinished musical idea. Sartorius’s focus on found and prepared sounds points toward a better order: curiosity first, equipment second. Build a phrase that has shape, contrast and a dependable pulse; then decide whether technology improves it. A device can transform a sound, but it cannot decide whether the groove breathes or whether the next note belongs.

A 12-minute four-sound experiment

Choose four safe sounds already available on your kit: bass drum, snare centre, closed hi-hat and floor tom. Spend three minutes giving each sound a clear role. Next, create a two-bar phrase using only one hit from each voice and repeat it for three minutes without speeding up. For the third round, change the dynamics but not the rhythm. Finish by recording two minutes and naming the sound that carries the groove, the sound that adds colour and the sound that feels unnecessary. Children can describe the sounds as characters; advanced players can move one accent through the subdivision. The exercise trains imagination and control at the same time.

Vince’s take

Vince would begin with the student’s current level and the music they want to create, whether that is rock, jazz, electronic music or a first simple beat. He would diagnose whether the difficulty comes from an unclear sound, uneven timing, tense grip, balance or coordination, then isolate one voice and one short phrase. Vince adapts the sticking, tempo and dynamic range to the student, adding the other limbs step by step so technique, timing, sound, musical judgment and confidence grow together. The aim is not to imitate an experimental artist. It is to help each student hear a possibility, control it and turn it into a musical choice of their own.

Start with the sounds already under your hands

You do not need special electronics or a large kit to begin. Bring a two-bar idea—or simply four sounds you enjoy—to private drum lessons with Vince in Montreal or online. Starting lessons gives you a practical next step: Vince can identify what is keeping the idea from feeling steady, simplify the coordination and help you shape dynamics and tone without losing the groove. Beginners learn to make each hit intentional, while experienced drummers can turn subtle textures into a stronger arrangement. Creativity becomes useful when you can repeat it, vary it and share it with other musicians.