to discover during her concert in Paris. We had the chance to do an interview with her on this occasion. Interview that I propose you to discover here.
JustFocus: we learned that your training in both music and image was done in the best institutions, the Belfort Conservatory and the Louis Lumière School. Isn't there a duality between these two paths: music and image? Gisèle Pape : At the beginning of the follow-up of my training, I was destined to make images. I was very interested in the profession of cinematographer. So there is always this attention for images, their beauty but also and above all their meaning. In addition, I have always had the desire to make experimental films. In this context, the images, the sensations that accompany them are particularly important. Subsequently, when I embarked on this project, it was not obvious but it was obvious that there was a coherence between the image and the music. I like the idea of sensation, the idea of feeling more than understanding the text. JF : You talk about images. The presence of the image is very present in your texts. How does the idea for a song come to you? GP : I have a method of my own, I end with the text. I really need to have a foundation in music. An atmosphere, whether it's a rhythmic, a synth or a beginning of melody. Once I have that, I get into the text, I adapt it so that it is musical. I like to play on the sound of words. I like to write in a pictorial way because it offers sensations that can speak to people. Even if when I write it is clear to me, the images I use speak to me because they correspond to something specific. I like the idea of sensation, the idea of feeling more than understanding the text. Afterwards, I also read texts and listen to those of other people. People like Bashung with La féline for example. https://youtu.be/J3Is2Bey2eQ JF : One fact surprised us a lot, your last song is a cover, that of whistling on the hill. An amazing choice because you have already released EP and album. Why this idea? GP: At first, it comes from a hesitation, I found that it had no place on the album.At the end of last spring, my label Finalist 1 wanted to release a compilation of several artists. I think it fit well into that framework. I thought it made sense in the extension of the album and in the whole project. JF: There are a multitude of influences in your songs. Steve Reich for example and even a mix of more classical instruments. It feels like you're experimenting a lot. Are you looking for something through your music? At the same time in humans there is always the desire to explore, to find these limits 
JF: In your music, there is a lot of electro, a POP aspect and on the other hand we have a natural aspect in your writings, are you looking for this balance between the two? GP: As I said about interpretation, it's true that there is almost a paradox between instruments and a lot of electronics. I like this contrast, I think it tells an idea of the link between humanity and nature that is quite strong for me. I think it's difficult to dissociate ourselves from a certain rhythm for example, that the earth imposes on us and at the same time in man there is always the will to explore, to find these limits. That's how I see this duality. The fact of going for sounds that are not in nature, that's it! it's exploration! https://youtu.be/P1x0h5cig_E JF: There are a multitude of influences in your songs. Steve Reich for example and even a mix of more classical instruments. It feels like you're experimenting a lot. Are you looking for something through your music? GP : Anyway, when I started writing songs, I wanted to find something that was really my own, that corresponded to my tastes, what I listened to in experimental music or more electro things. It's true, when I think about it, I like hybrid things, I may have put less in this album, at least less consciously my classical learning. After years of study and practice, it's like cycling, you can't forget it. In any case, I wanted to find songs that were my own, that resembled me. JF: You were trained on the organ at the conservatory, do you continue to play it today? GP: The organ, his concern is that it is a large instrument not easy to transport because of its size. I would love to play more, I have one at my parents' house. I hope one day to be able to do something new with this instrument. 
JF : Album titles are something important I think? Your EP is called Oiseau, now the album is Caillou why these choices? GP : For bird, there was a crossing on the album of the figure of the bird. The fact of flying, of escaping, the fact of gaining height. Need to dream, dream to fly. When you are human, it is important to dream and fly, it is this idea of detaching yourself from the earth. Caillou, I wrote it after the tour for Oiseau. I think I was crossed by this idea of being connected to the earth, the ide of nature too. The idea of the body, all its forms of fragility that return. Caillou as a title imposed itself quite quickly. A pebble is not like a mountain but full of pebbles together it can already make a hill. Besides, it answered to bird as a title. https://open.spotify.com/artist/0vE4bncobhWUUGpLpBtD4e JF: Each artist has his own way of making an album. What is yours? How do you conceptualize an album? GP : There are indeed several of us to do it. So I do in addition to the texts, the models and the arrangements. I work with a sound engineer who records and mixes. I do several sessions with this sound engineer. We both had a lot of exchanges. At the end of the album, I called on the composer Xavier Thiry. He is a composer who has already worked with the feline for example, or co-produced the album A ta merci by Fishbach. He already had this experience of the album format that we had less. It is thanks to his outside perspective that we were able to finalize this album.
