Press Reviews

Audiovisual and sound installations:

  • “…spasms of electricity generated games of shadow and new insights regarding the architecture of the house.”

– Mariana Duarte, review of “Room Dynamics” at Serralves Museum, Publico Daily Newspaper, Porto.

  • “…Artistes locaux à surveiller:
    Adam Basanta: artiste audio-visuel à qui ont doit plusieurs installations et performances. Le côté exppérimental est au cœur de sa création.”

 – Marie-Hélène Chartrand for 24h Montreal, October 11, 2014.

  • “…with his work he recreates places, dissolves and creates new spatial units”

– Rebecka Holmström, review of Norberg Festival for Nutida Musik blog.



  • “…a high point… voices embedded within a near-symphonic surround-sound matrix of electronically treated environmental sound… [The piece…] eschewed narrative in favour of an impressionistic flow—a strategy that nicely depicts a region shrouded in raincoast mist, where time itself hangs suspended…. constantly shifting, immersive atmosphere…”

Review,  Alexander Varty for the Georgia Straight.

  •  “…the richness and dynamism of colour in his pieces stirs questions.”

– Nick StorringMusicworks profile, issue 111.

  • “…frantic, noisy and gutsy, reflecting perfectly the young generation’s sound world.”

– Robert Normandeau (Jury member for the 2011 SOCAN Foundation Awards for Young Composers) quoted in relation to feelings I’m too tired for in Words and Music, Fall 2011.

  • “electroacoustic wunderkind”

  • “rising electroacoustic star”

Music on

  • “Single objects tinkled and crackled left and right, forward and back… an electrochemistry of the new and old.”

         – David Patterson, review of a glass is not a glass, The Boston Musical Intelligencer


  • “The score by Adam Basanta is a gorgeous combination of clanking, low rumbling, and again, live breath (performed by a spooky figure in a hoody who never shows his face), ending in a final sequence of peaceful strings.”

– Melissa Walter, Plank Magazine, October 23, 2009. Review of Box4 (dance).

  • “Top 10 performances of 2011”

Georgia Straight, Best of Vancouver 2011


Music for Lamps:

  • “…As they sat across from one another, diligently synthesizing sounds on their Macbooks, the Montreal trio transformed an outdoor stage into something resembling a haunted home office. They borrowed a few dozen household lamps from host Monahan, and outfitted each with surface transducer speakers—making for lamps that flicker through both sight and sound. Coupled with immersive theatrics, their musical simplicity and use of the softer, more delicate qualities of electroacoustic noise music made them a standout highlight of the festival. It sounded to me like ringing telephones, piano samples, and an underbelly of crackling electronic hum and drone—and I loved it.”

– Review by Moshe Rozenberg for

  • “…These lamps, while they flicker, channel their own secret sounds, cutting clips of male voices, scratching, scathing oscillations, the flick of lamp switches, like we are experiencing the lampsʼ perspectives… dusty, ethereal, bending soundscape is the constant sound beneath the “click” of switches”.

– Review, Celesse McCarthy for

  • “…That same evening includes Adam Basanta, Julian Stein and Max Stein (Montréal), presenting an installation of a ‘dozen sound and light emitting lamps. Each lamp may ʻbehaveʼ as an individual, or as a part of a larger ensemble, manifesting various behaviours, both aural and visual.’ I like it when objects behave inappropriately — or, like some of Gordon Monahanʼs objects, make noises they shouldnʼt: art in unexpected places, in unexpected ways, doing unexpected things.”

Preview, Bart Gazzola for Planet S Magazine.

  • “… BEST Art Exhbit: Sounds Like Festival (AKA Gallery / Paved Arts). The audio art festival really came into its own in its third year with the likes of ʻHit (duo)ʼ and ʻMusic for Lampsʼ.”

– Best of Saskatoon Planet S Magazine.

  • “The improvised composition is made up of sound bytes that range from jarring to tranquil. Among many, you can pick up the creaks of poorly oiled doors, a jingle of coins, and the soft sounds of breathing. A ringing phone in the distance is represented by short bursts of light, the crackling voice of the operator that follows is a less intense visual, and then the dial tone beeps the lampʼs glow on and off… I thoroughly enjoyed it.”

Review, Naakita Feldman-Kiss for forget the box.

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