the other self — Finding in music an accomplice, the other, without
whom nothing is possible, without whom one cannot grow. Better: through his
contact, one really exists, since one plainly sees oneself. A mirror.
the other me — My music as an intimate insight, naked, subject to
the world’s judgement: an act of humility. Through it I present a
hidden side of my torment, in my name, alone to take on the poetry of its
imperfection. Of my imperfection.
the other you — Proposing dreams fragments, paths for wandering,
where others can hopefully loose themselves and self-identify to the extent
of purging their humanity. Or just to enjoy the road.
the other thing — A work, not as a superficial exercise of aesthetic
seduction, but as an attempt to transcend differences toward the Übermensch.
Strong arguments, amoral, music as a vehicle of reflections, Expressionist
and Romantic, inducing an effervescence, an urgency to live. Perhaps simply
beautiful?
I consider myself as a very lucky man, and I believe that my happiness
must rightly be attributed to those who have fanned the flames of my passion.
I would like to dedicate this album to them, by thanking them both personally
and publicly! Suzanne and Louis-Carl
Tremblay, for encouraging me to believe in my dreams, and for having
provided me with the means with which to achieve them. Louis-Nicolas and
Jean-Christophe
Tremblay, for all the years of love, however clumsy. Claudine
Levasseur, for this life of shared dreams… may there be thousands
more! Jean-Guy Larin, for
having known how to kindle my passion during the informal meetings on the
shores of the St Lawrence River. Michel Longtin, for
having sown the seed of doubt early enough, and then for nuthuring it!
Michel Tétreault,
for the electroacoustic revelation, and for being an inexhaustible source of
questions. Marcelle
Deschênes, for all of her honesty and generosity which encouraged my
personality to emerge. Robert
Normandeau, not only for the repertoire and the craftsmanship, but also
for the trust demonstrated by all the opportunities. Jean
Piché, for the forceful discussions and the whispered support! Alain Thibault, for
encouraging me to listen to different things, different ways, differently,
and for so much more! Michel Donato, for
the little touches of light in my troubled music. Jonty Harrison, for
the hospitality in welcoming me into the heart of the BEAST, permitting me to solidify my musical path. Jean-François
Denis, for his dedication to his work as an electroacoustic missionary.
Dominique Bassal
for the accuracy of his judgement and its passionate delivery. Madeleine
Bellemare and Diane Harting, for
the commas, the periods, and all the small details that fashion a text.
Sébastien Malo,
Julien Marcil,
Bruno Morin, Sylvain Pohu and
Mario St-Onge, with
whom I have come to know what friendship is. Sébastien
Arcand-Tourigny, Nicolas Boucher,
Gabway Côté, Sean Craig, Étienne
Deslières, Guillaume
Coutu-Dumont, Alain Gauthier and
Stefan Schneider,
for having shared with [iks] the countless adventures
and interrogations, as much ethical as aesthetic! Finally, Maxime and
Édouard
Levasseur, before whom all this seems so futile, yet finds all its
meaning!