angine de poitrine vol 2

Angine de Poitrine Volume II: The Microtonal Phenomenon That’s Capturing Montreal’s Music Scene

When a Canadian indie band named Angine de Poitrine dropped their debut album in 2023, no one expected it to ignite a cultural moment. Fast forward to 2025, and the duo—comprising brothers Khn and Klek—are back with Volume II, not just another follow-up but a bold sonic evolution that’s drawing international attention from music legends like Dave Grohl.

The name may sound medical, but this isn’t a health crisis. Instead, Angine de Poitrine—which translates roughly to “angina of the chest”—is the enigmatic moniker of a microtonal instrumental project that has quietly become one of Montreal’s most talked-about musical experiments. Now, with Volume II on the horizon, fans and critics alike are buzzing about what comes next.

A Musical Anomaly Born in Montreal

Founded in 2022 by the sibling duo Khn (keyboardist) and Klek (percussionist), Angine de Poitrine emerged from the underground electronic scene of Montreal’s Plateau-Mont-Royal neighborhood. But unlike typical experimental acts, this collective doesn’t rely on traditional tuning systems. Instead, they employ microtonal scales—intervals smaller than a semitone—to craft immersive soundscapes that challenge both listener and musician.

Their first album, released in late 2023, quickly gained traction through word-of-mouth and niche online communities. But it wasn’t until early 2024 that the project truly exploded into public consciousness.

“We didn’t set out to make a viral sensation,” said Klek in a rare interview with Radio-Canada. “We were just exploring how sound behaves when you break the rules of Western harmony.”

That exploration resulted in an album filled with ethereal drones, shifting tonal clusters, and rhythmic patterns that seem to breathe rather than beat. Tracks like “Fibonacci Fracture” and “Lacuna Lullaby” feature layered textures so dense they feel less like music and more like ambient architecture.

The Buzz Builds: From Underground to International Attention

With over 1,000 mentions tracked across digital platforms—a figure that surged after the announcement of Volume II—the buzz around the project shows no signs of fading. While exact traffic sources remain unverified, the surge aligns with coverage from trusted outlets like Radio-Canada, Le Canal Auditif, and 98.5 Montréal.

According to Radio-Canada’s investigative piece titled “Un 2e album pour Angine de Poitrine, l’ovni musical qui fascine les experts,” the band’s use of microtonality places them at the forefront of a global movement redefining harmonic language. The article highlights how their compositions avoid traditional major/minor scales entirely, instead using quarter-tones, just intonation, and custom-tuned instruments.

Le Canal Auditif echoed this sentiment in their critical review of the upcoming release, calling Volume II “a daring leap into uncharted auditory territory.” They praised the expanded use of field recordings—subway echoes from Montreal’s metro system, bird calls from Mount Royal, even snippets of French poetry whispered in reverse—woven into the fabric of each track.

But perhaps the most surprising endorsement came from Foo Fighters frontman Dave Grohl himself. During a live radio segment on 98.5 Montréal, Grohl confessed his fascination with the project: “I don’t understand half of what they’re doing, but I can’t stop listening. It sounds like if Brian Eno had a baby with a theremin and raised it in a library full of Tibetan singing bowls.”

His comments sent shockwaves through the music world, with streaming platforms seeing a 300% spike in plays of the debut album within 48 hours.

What Is Microtonality—And Why Does It Matter?

For listeners unfamiliar with avant-garde music, microtonality might sound like noise. But for composers and sound artists, it represents a fundamental shift in how we perceive pitch and emotion.

Unlike the 12-tone equal temperament system used in most Western music, microtonal music allows for intervals smaller than a semitone—think of bending a guitar string slightly higher or lower than the standard note. This creates subtle shifts in timbre and tension that can evoke feelings ranging from unease to serenity.

Historically, microtonality appears in Middle Eastern maqam traditions, Indian raga systems, and even medieval European church modes. But in contemporary contexts, artists like La Monte Young, Pauline Oliveros, and Toshimaru Nakamura have pioneered its use in minimalist and electroacoustic genres.

What sets Angine de Poitrine apart is their fusion of these ancient concepts with modern production techniques. Their self-built instrumentarium includes modified synthesizers, glass harmonicas tuned to just intonation, and custom percussion made from recycled materials sourced from Montreal’s flea markets.

“We’re not trying to alienate people,” explained Khn during a panel at the 2024 Montreal Electroacoustic Festival. “We want listeners to hear something familiar in an unfamiliar way. Like recognizing a childhood melody played backwards.”

Timeline of Key Developments

To understand the rapid rise of Angine de Poitrine, here’s a chronological overview of pivotal moments:

This timeline reveals a pattern: initial obscurity, followed by organic growth, then sudden mainstream recognition catalyzed by influential endorsements.

Cultural Impact Beyond Music

The ripple effects of Angine de Poitrine extend far beyond album sales or streaming numbers. In Quebec’s academic circles, their work is being studied as part of a broader resurgence of experimental sound art.

Dr. Élise Tremblay, professor of ethnomusicology at Université du Québec à Montréal (UQAM), notes: “What’s remarkable about Angine de Poitrine is how they’ve taken a historically marginal practice—microtonality—and made it accessible without sacrificing complexity. They’re helping redefine what ‘Canadian sound’ can mean.”

Moreover, their DIY ethic has inspired a new wave of young musicians in Montreal’s independent scene. Local venues like Casa del Popolo and Sala Rossa report increased interest in booking similar acts, particularly those blending acoustic experimentation with electronic elements.

Economically, the project has boosted tourism in Montreal’s historic districts. Fans travel from as far as Toronto and Vancouver specifically to attend their live performances—often held in non-traditional spaces like abandoned warehouses or botanical gardens.

Challenges and Criticisms

Despite widespread acclaim, the band faces skepticism. Traditional music critics argue that microtonal music lacks emotional clarity or commercial viability. Some purists claim it’s “anti-melodic” and inaccessible.

Klek acknowledges these concerns but remains defiant: “If music has to conform to what sells, we’re already dead. Art shouldn’t be comfortable.”

Additionally, the band operates independently without major label backing, relying on crowdfunding and vinyl pre-sales to finance Volume II. This raises questions about sustainability in an industry increasingly dominated by algorithmic curation.

Looking Ahead: What’s Next for Angine de Poitrine?

With Volume II scheduled for a spring 2025 release, speculation is high. Teaser clips suggest deeper integration of AI-generated harmonies and real-time audience input via mobile apps—a move that could further blur the line between composer and participant.

Industry analysts predict several potential outcomes:

1. Mainstream Adoption: As microtonality gains traction in film scores (notably in sci-fi and psychological thrillers), demand for such sound design may grow.
2. Educational Outreach: The band has hinted at workshops in Quebec high schools, aiming to demystify alternative tuning systems.
3. Collaborations: Rumors swirl about possible features with Icelandic ambient artist Björk or Japanese duo Yellow Magic Orchestra.

However, risks remain. Overexposure could dilute their experimental edge. And if streaming algorithms prioritize virality over substance, the band may struggle to maintain artistic integrity.

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