We are the Selkies and you’re watching Rimshot ! This projet started with an arrangement idea of Herbie Hancock’s “Butterfly”. From there, I had the idea of forming a band with 3 lead vocals. I met Céline at a music school in Paris, we started working together, talking. I offered her to write lyrics for my songs. One thing leading to another, I was exploring Paris’ Jazz clubs and I found Cynthia who was singing like a beautiful mermaid. So was born the band, we completed each other. Onomatopoeia are just melodies sung with rhythm. That’s what’s closest to music, the most sincere and purest form. When one thinks of a melody, one goes “da di da…” There you go ! There’s something pure in this. When I compose a song, I straightaway sing it with onomatopoeia. The idea of keeping this is to be close to the song’s essence. When three voices are doing the same thing, it creates a kind of language which isn’t one. – It’s written though… – It’s almost written, yes. Repeating it again and again and working together, we eventually wrote down onomatopoeia painstakingly to create an osmosis, the three of us. But it comes second, because we learnt it by mutual imitation. Now, I compose by ear, but basically I assimilated cadenses, I’ve assimilated a lot of musical nourishment so I can then structure it at home when I compose. It’s like anything else, when one learns, one learns theoretically, then it needs to be digested in order to be forgotten. For me, such is the composition process. It now became a little more natural, more spontaneous, but it’s there because I’ve studied a lot in music schools and so on, and I’ve learnt a lot. Today we’re living in an era where artists are self-produced, we’re left on our own for everything: promotion, prospecting… We are in the era of social networks. We really are in a transition era, we are the generation that definitely lives this time and age. It can be great and it can be worse. It’s a matter of meeting the right people, I don’t think there’s a recipe for success, it’s a case by case scenario. Today, the artist is an entrepreneur. He has to sell himself, write his music of course, and be aware of what’s going on. All this is a heavy burden to carry, It’s true that a label can relieve the artist with some tasks but even labels don’t have the same role as before. They’re more peddlers, they help gathering, but eventually the artist works even if he’s signed. As soon as a band is dubbed original and doesn’t exactly fit the Jazz genre, or songwriting genre, it’s always a little more complicated because in France we tend a lot to shove in boxes, but we’re eager to meet other audiences, the international public. We really want to export ourselves and meet another public. I strongly believe that there is an audience for our music in Germany, in London… I think there’s a real audience for this. In France we were often told that we were too much Jazz, or too much World music, or too much songwriter, too much this or too much that. Like many other bands, we mix all that. To us it’s a strength. I don’t know if it’s specific to France, but I have a feeling that they really need to make us fit a box in order to place us on some scene, some festival, some network… and as soon as we mix more than 3 main genres they go “waw, we don’t know where to put you”. At the end of the day, it hurts us a bit. It’s important to have such bands. Today’s Jazz scene is totally in this stream. – It moves on – That’s what makes Jazz move forward, it’ll maybe influence tomorrow’s Jazz musicians. It’s an important struggle we’re leading, and it’s just the continuity of yesterday’s Jazz. We recorded at the”Maison des artistes” in Chamonix last summer, We had this opportunity because we won the Cosmojazz Festival award in 2018. It was great, it went very well. Now you’ll have to be on the lookout because we’re planning to release it in 2020. We recorded an EP that helped us grow and this is our very first album, we’re looking forward to it. It’s a little less acoustic compared to our EP. Now we have Max’s guitar, some sounds we’re adding, but it goes in the same direction. It’s more profound, more Woman, we have more years on the counter! The more we progress, the more our music resembles what we do over time. It’s a job of experience, that’s how it goes. I suppose I don’t compose the way I used to 2 years ago. We’re moving forward. We grow up, there’s a greater sense of responsability, we’re more anchored. Even our voices change, in fact. The voice evolves all the time. We act in this continuity. The basis, why we play music, remains the same, it’s just playing music since we’re all passionate about it. Over time, this music represents what one racks up, his experiences. Maturing enriches this music little by little. It stays the same, the statement remains the same and it will until the end !