Woodkid: “I love the idea that songs are never finished”

the essential A second record at last! A tour at last! Woodkid discovered in 2013 with the album “The Golden Age” published a few (long) months ago “S 16”, will perform this Sunday 31 October at the Zénith de Toulouse

How do you see your evolution since the release of your first album “The Golden Age”?

By the time I made this first album I had not yet tasted any form of accomplishment. At that time I’m still in a state of conqueror, I have everything to gain so inevitably the state of mind is not at all the same seven years later with an album that has nevertheless gone well (800 000 sales around the world, editor’s note) then extraordinary and unexpected things that happened to me. I had the luxury of being able to come up against the question of what I really had to say. The desire to really know the things that torment me, past the somewhat survivalist considerations of the moment when I was not making a very good living and when I needed to prove my existence to the world, to be heard. With all of that cleared up, I was able to envision what was really bothering me today.

The question that concludes the last song “Minus Sixty-One” “What am I trying to find? »Is it the leitmotif of the album?

I could have given this title to the album. I think it’s a song that speaks of a somewhat bourgeois suffering which is that of this cognitive dissonance that we face when we become someone who has responsibilities, someone who grows in the world. Someone who, at the same time, has fundamentally, I believe, a buried left consciousness, and those two things are often incompatible.

On the melodic and rhythmic level, the songs are characterized by breaks, ruptures, like the state of the world?

Yes I think that indirectly it tells the world since we are in a time of ruptures and fragmentation. I think there was mostly a desire to be a little bit in rebellion with a lot of things that I can hear or read about the music industry today, I think I needed the unexpected. So obviously there are orchestral moments and great moments of contrasts because the music is only contrasts for me. But, I rather wanted to strip so that everything is always unexpected.

On this album, the voice took on a real dimension that did not exist on “The Golden Age”, is it an awareness of its strength and its possibilities for you?

On “The Golden Age” I only had one color, I was still discovering my voice at that time. It was finally quite new and I learned a lot about the association of my vocal colors at the time of the tour. I discovered different timbres, harmonic progressions, words, modes of interpretation that create even more intimate combinations. So I wanted to explore and expand my vocal panel on this album because I actually had this tool developing. And since I’m someone who actually works pretty hard, my voice is changing all the time. So it’s rather promising of still different things.

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