#xarahdion

Stefan : Extending from this, I remember once talking with you about the protests in Québec City against the Free Trade Area of the Americas (FTAA), a neoliberal trade agreement that eventually collapsed. Could you talk about that experience and how it impacted you, especially given you were living in Québec City at the time.

Xarah : In those years I became very focused on seeking justice and truth and I was looking for information, answers beyond what the mainstream media was offering, beyond the scope of regular cursus in school. I pointed my attention to social movements in Québec, attending « Université Populaire » where I got exposed to alternative humanities, Naomi Klein, Noam Chomsky, attending lectures by Francis-Dupuis-Déri and learning about the Black bloc. My attention was also turned to Montréal where larger organizations were in place, thinking of La convergence des luttes anticapitalistes (CLAC).

Stefan : After moving to Montréal one of your principal projects was La brique, a collective space for musical creation, culture and community. Could you talk a little about this space and how your experiences there impacted your sound as an artist ?

Xarah : I had the chance to share this story with Bianca Giulione this winter. You can find more details here. One thing I would say is I keep all those experiences deep in my soul. There is no place like La brique and my nostalgia is full of light.

Stefan : In listening to your music today there are many different influences, you have studied music formally, but also have so many experiences working on music within different underground scenes. One particular influence I wanted to explore a little with you for this interview is ancient music, I feel that influence within the harmonies on the track « Sillage et Caprice » could you talk about this musical aspect ?

Xarah : I studied organ and harpsichord in CEGEP and it transformed my sensibility to music. My teacher Pierre Bouchard was a one of kind, a very kind soul, full of humour, and a mystique beyond dogmas. He had a holistic approach to playing which made me attuned to how the music comes from the soul and travels through time. Moreover, I discovered in later years that ancient music was still alive today in many folklores of the world. The modal melodic approaches remain alive all across Europe, North Africa and Asia.

Stefan : Also I hear a major influence of punk in your work, which is perhaps something that I haven't seen talked about in other interviews you have done. Could you talk about the influence of the raw energy of punk music and culture in your current efforts ?

Xarah : One thing I would say is music is where I feel at home in the world. It is a necessity for me and for so many others. It is not a mere entertainment although it brings immense pleasure, even ecstasy. I believe the stage is a sacred space, when someone is up there, gathering attention, being heard, one has to be generous and open up to a point somewhat close to a sacrifice. There has to be no distance between the souls. The emotion has to be palpable, beyond a theatre or a masquerade. One has to be generous, vital, and it is something quite apparent in some processes in which music is a matter of survival.

Stefan : Finally one thing you talked about before, or a certain phrase I remember from past conversations, is your efforts to "stay away from the codes" as a musician. That importance of being open to many different influences types of work, not being focused on one style or musical language, could you talk about this idea more ?