"Since 1995, Érick d'Orion is part of morceaux_de_machines, BOLD (with A. Bellavance and N. Bernier) and Napalm Jazz as well as a many other projects. He has played with Evan Parker, Martin Tétreault, Otomo Yoshihide, Robin Fox, Ilpo Vaisanen, Alexandre St-Onge, Sam Shalabi, Gunter Muller, eRikm, etc. He also works for live new media shows, films, theater and dance companies.

Interdisciplinary audio artist, composer for the performing arts and cinema, musician/improviser and audio curator residing in Montréal since 2015, previously in Québec City since 1993.

As curator, he has organized more than a dozen events focusing on audio art and advanced sound creation. He was co-curator of the artist-run center Avatar from October 2008 to June 2010. He is also curator for the sound installations component of the Festival international de musique actuelle de Victoriaville since 2010.

Concentrating much of his audio research on digital maximalism, d'Orion performs a work that closely resembles noise, musique concrète, free jazz and electroacoustic.

In parallel or jointly, he develops installations projects where audio and new technologies are assembled to create works in continuous movements, becoming sources as well as audio broadcasters. His reflections focus mainly on the reinterpretation, appropriation and re-reading of certain concepts of art history, in particular in musique concrète, dadaism and futurism, The redefinition of acoustic space as well as the relationship between the spectator's imagination in the face of images, objects, environments and familiar or falsely mythical icons form an integral part of his installation work.

He is part of the duo morceaux_de_machines, the trio BOLD (with Alexis Bellavance and Nicolas Bernier) and the trio Napalm Jazz, as well as a multitude of had hoc ensembles.

He has performed with renowned artists such as Evan Parker, Martin Tétreault, Otomo Yoshihide, Robin Fox, Ilpo Vaisanen, Diane Labrosse, Alexandre St-Onge, eriKm, Sam Shalabi and Gunter Muller.

Since 2009, he is a frequent collaborator of Productions Rhizome, an organization of productions of live shows of hybrid literature / digital art, as audio artist/composer and performer in several projects. He also designs the sound environment and music for interdisciplinary projects, cinema, theater and dance, working closely with Martin Bureau, David Ricard and Jocelyn Pelletier.

Since the summer of 2015, he has collaborated with the interdisciplinary artist Catherine Lalonde Massecar (Duo Massecar • d'Orion) to combine both sound creation approaches, real-life practices and clandestine dramaturgy.

He is or has been a member of several boards of directors in the field of art: La chambre blanche, Perte de Signal, productions Rhizome, RCAAQ, CHYZ, Folie Culture, RAIQ, Dare Dare, etc.

His work has been presented in Canada, Europe, Australia, Cuba, Mexico, Haïti and the United States of America."

Otomo Yoshihide - born in 1959 in Yokohama, Japan. As a teenager, he spent time in Fukushima. Staying independent, he has consistently composed a wide range of music from improvisation to noise music and pop, and his music talent has spread all over the world. He has a successful career as a film score composer and has produced more than 70 movie soundtracks. In recent years, he has produced special type of concerts and musical works in collaboration with other various artists under the name of "ensembles". In addition, one of his priorities is,producing musical workshop projects involving handicapped children. In 2011, after the Great East Japan Earthquake , he started "PROJECT FUKUSHIMA!" along with people in various sectors. He has been active beyond the music scene and this is the reason that he has attracted a great deal of attention. In 2012, he received the Minister of Education Award for Fine Arts in the category of Promotion for "PROJECT FUKUSHIMA!". In 2013, he received various prizes including the Japan Record Award for his accomplishments, such as composing the theme music for the TV drama "Amachan".

"I use my real name "Otomo Yoshihide" as my stage name. When you write your Japanese name in English alphabet, many people often write their given names first, then their family names, following in the Western traditional culture. But originally, some Asian countries, including Japan, write their family names first, and then their given names follow after that. In my opinion, there is not only one standard for people's names and we should respect the values each person attaches to their name. Calling someone by his first name is a wonderful custom in Western culture to express familiarity with each other but that custom is not necessary in Japan because nobody has ever called me by my first name. It does not mean that people are unlikely to become close friends with me. It is just that calling me "Otomo" seems easier. There are some places with such customs in the world; where people friendlily call you by your family name. I am definitely not a nationalist but I have a feeling that something is wrong with those people who do not only disregard the tradition I am familiar with, but would rather follow Western standards.

For this reason, I would like to continue using the notation "Otomo Yoshihide" as before. When you call me, please call me "Otomo" as before. This will not cause any problems in its use. Until now, many people have written my name "Yoshihide Ōtomo" or "Yoshihide Otomo" but please understand those notations are not my intention. I am sincerely grateful for your consideration."