Photo: Pedro Ruiz The Duty
To do so in the metaphor, aquatic and marine, let us say, of Émile Proulx-Cloutier that he is a master mariner.
It was found three-quarters of an hour, in the early afternoon, during the break : Émile Proulx-Cloutier “just started” filming a series for television, Tomorrow’s men, written by Guillaume Vigneault, performed by Yves Christian Fournier. “It happens in the middle of junior hockey, there are very beautiful characters…” At the same time, it provides its share of promo for We are the others, the first feature film by Jean-François Asselin, in the dining room since 10 November. Let us add that the trailer of The Bolduc, unveiled these days, has not failed to make its effect : one that embodies ” a beautiful character bastard “, namely Édouard Bolduc, the husband of the turluteuse, journalists, film already pose questions.
And the second studio album of the author-composer-interpreter in there ? It is the stomach of Emile, which actually costs : no time to eat during the break, especially when one is a voluble and that it was very, very much want to talk about the songs of the high Tide. It is to wonder what parallel universe he has created, this drive. “Every day, all the time…” A rhyme written for two replica rounds ? “Almost. The words came in walking, in sleeping beauty, the notebook is still in the bag, in the pocket, at the bedside. The least that I have access to a piano, I compose. At TNM, I was working for songs of noon to six, and in the evening, we used to play a Brecht. “All is explained ! He mentioned that through these hobbies, and livelihood, it also has a real life family ? No, because that goes without saying.
Photo: Pedro Ruiz The Duty
Challenge of clarity, the sake of beauty, imperative of relevance, the need for drilling the shells: Émile Proulx-Cloutier doesn’t let a song drift into the current of inspiration.
The explanation, the true is that the second album was already in motion before the first reaches us. “I always had in mind the following. In the performances of the first tour, I was already a Mum and Joey at night. “To go there all go in the metaphor of water and maritime, which runs through the album, say Émile Proulx-Cloutier that he is a master mariner. “My texts are sites of long-term, it may take months, years before you finish the boat. “It took a decade — and the approval of all the beneficiaries — to dare to present his adaptation of Mommy, Daddy, Marc Gélinas and Gilles Richer : it’s called Mama, and it is still the eyes of a child on the loss of the original language, but it is this time of a child innu. “Oh mom I was for vee my tongue / Mom why you can’t learn it? “
“Draw seams “
Challenge of clarity, the sake of beauty, imperative of relevance, the need for drilling the shells : Emile doesn’t let a song drift into the current of inspiration. “The first jet may exist, but the images are empty if we do not anchor not. The more hard it is to build a path for the arrival of the image is a signifying or emotive. It is the work of “draw seams” which is long, so that the joints appear to be not. “And daring modulations in the arrangements of Guido Del Fabbro, text fignolés, the set is solid, wing and hull. From Small suitcase, the first title of the high Tide, everything seems to flow, in this speech of love that doubt : “I have five hundred and thirty-eight friends / Not two that I would dare to call / To my help / thousands of words in the head / Not the two that gives us wings / love “.
When I cite this excerpt, he let loose a small laugh of contentment. “This is frank and clear. I love the words, I have the flow easier than the drip. Then, when I am able to serve the universe by being very thrifty, I’m happy. When I pass a short, it gives me permission to make two long ! “Indeed : The walls and the sea, the next song, line up a battalion of words :” In its great white noise for my beautiful province waterproof / Seeks eagerly to his voice on the screens of the Sunday […] I thirst under the smile sincerely yours, / Yeah thirst thirst thirst of a memory at high tide.” The whole album is available as well, hot tub, storms, tsunamis. Emile has not done purposely, he says, it is after-the-fact, songs side-by-side, and it became evident that theme. “The drive talking about all of this, that we can overwhelm that of what we raised… “
It can be understood positively and negatively this line particularly telling : “My brother, the walls win ever against the sea “. Everything happens to us by “the wave,” says Emile. “The best and the worst : the incessant flood of news, the carnage everywhere in the world, the massive movements of refugees, the denunciations for sexual assault, it is of waves, big waves…” In these veritable Niagara falls of the company, there was ” a great source of potential energy for changing our ways of thinking, acting. I sense a willingness to change, I also see all the dangers of hindsight. “In Force océane, he speaks to the women :” Like a river that overflows and tears / get Out of the groove before you harnesses […] There you will sells magazines that tell you to love you as you are / With two hundred pages of teen photoshoppées “. Émile didn’t want ” it sounds like a sermon “, but rather as an encouragement. “We saw a release important these days, things move, but that doesn’t mean that women will no longer have to struggle. “
It changes the perspective, for the creator of songs. If there are still characters in the songs of Émile Proulx-Cloutier, they are less extraordinary. “For me, madam Alice was eight feet high, it was people larger than life. I see myself in different lives from mine, but who are a little more at hand : the type a bit lost, which is reviewing an old flame in reunion, the teenager that runs up in the morning in Joey the night, the father who is going to die too early in [the moving] Last words… ” Emile himself is no longer quite the same. “I’ve expanded my palette as a human, I think. My life as a father, my family life, it makes me see people differently. “The song that closes the album is entitled Kid :” Our kids who look at the world / He’s more beautiful than the world itself.”
Actor who sings, a singer who plays
In the conversation, it happened often : the composer Émile Proulx-Cloutier spoke to the actor, and vice versa.
About the implementation : “In a song, the big problem to solve, it is to give information without having the air. It’s the same in screenwriting. You don’t want people pucker of the forehead and wondering what it’s about, where there is : thou wilt not that thy narrative thread or a cable ship… “
About the characters : “I live in a big, big change from four years ago. The roles offered to me are not the same. I played fathers, people who have morals. And my buffet actor became more plentiful and varied, I allowed myself as a songwriter to move towards portraits of the guys that I could have been, or that I have already been. “
About the flashback : “I asked myself with Guido Del Fabbro how to make a flashback in a song, as one does at the cinema. It has been found. We have imagined a fake old song, which we hear twice in the Reunion, as if it was the common memory of the characters, their tune. They made it exactly like a film set. “
About destiny : “It is true that the songs speak a lot of what we wanted to become, compared to what we dreamed to be, compared to the expectations of the people. It has pointed out to me that it is exactly the theme of the film in which I play, We are the other. Must believe that I am at a point in my life where I have the head to ask me this kind of questions… ”