Freeworm (a.k.a. Vincent Letellier) is an environmentalist of the imagination whose organic, multiform style navigates the vast expanses of the sonic world. The Montreal-based multi-instrumentalist leads a constantly evolving musical project that integrates conventional instrumentation (guitar, bass, percussion, brass, etc.) with original digital constructs (programming, sound manipulation and a hefty bank of home-made samples). Combined with the contributions of the many musicians he’s met along the way, his is a unique palette with an ever-increasing variety of colours. Freeworm’s first record, Vegetation=Fuel (2000, Hydrophonik/Indica), clearly demonstrated his innate passion for experimenting and delving the depths of sonic possibility. He extracted sounds from the forests of Quebec—earthy acoustic textures and aquatic atmospheres—to produce a work of driving, ethnic-tinted electronic rhythms overlaid by the elements of a recycled natural soundscape. Like the changing lay of the forest terrain, Vegetation=Fuel transports the listener into the surging rolls of drum’n’ bass, through the adamant rhythms of breakbeats, past the soothing cascades of liquid jazz and over to the hip hop party next door. The melodious phonetic utterances of Verushka provided an extra dimension, a warmth that touched the listener and added an ethno-international ambience to the Freeworm experience. Originally from Luskville, a small village in western Quebec, Freeworm began his musical expeditions in 1991 as a member of the electro-folk group Jus (« Juice »). But while other members played electric violins and guitars in a more or less traditional manner, Freeworm set about exploring the huge sonic potential of his electric guitar. After moving to Montreal in 1992, his work evolved from simple rhythmic explorations with an old beat box to fashioning and sculpting digital sounds. His need to interact and share in musical discovery attracted musicians and vocalists from a variety of backgrounds and musical genres, setting him on the path of trip hop and jungle, with dub-influenced basses and reggae-inspired vocal arrangements. His studio quickly became « Hybrid Central, » a meeting place for street musicians and professionals alike who shared his love of musical experimentation. Before Vegetation=Fuel, the appearance of Freeworm’s contributions came mostly in the form of internationally renowned compilations, such as Infinessence (2001), Ekkocentric - The Ekko Remixes (2000) and Interior Horizons (1999, Interchill), which earned him a spot on Solidsteel, an international radio program begun by Brits Coldcut (Ninjatune). He also worked on soundtracks for film and television with mentor and friend, composer and clarinetist Robert M. Lepage (Ambiance Magnétique). In the wake of the success of Vegetation=Fuel, he has put together remixes for a slew of artists, from Bran Van 3000 (Grand Royal) to Adam Chaki, No One Knows Where The Hell We Are (Audiogram), and he recently collaborated with Daniel Bélanger on his most recent record, Rêver Mieux (Audiogram). Known for his ecologically-themed concerts, Freeworm’s persona takes on a whole new dimension onstage. He knows how to make the most of the spontaneity and versatility that live performance offers. The Freeworm vibe radiates outward to his audience in a communion of celebratory dance that replenishes the body and the spirit. From his numerous excursions abroad, which includes Europe, Brazil and Vietnam, among others, Freeworm has returned with an even stronger desire to assume the diversity of his North American urban roots, and in particular, the multicultural character of his city, Montreal. He therefore dove into the creation of Solar Power (2003), with the help of no less than 27 hand-picked musicians, and plunged head first into the renewal of his musical approach by exploding the borders between experimentation and the spirit of pop. The result is a brilliant, authentic, accessible work that he delivers with no other pretense than to communicate his love for music, the planet and its inhabitants.