Tag Archives: Songwriter

Jessiquoi: having the freedom to reinvent yourself

Searching for her personal identity is the force that drives her creativity. It has enabled Jessica Plattner, alias Jessiquoi, to create a complete audiovisual work of art. The 31-year-old Bern resident says that she is brim full of ideas. Thanks to the Get Going! grant, there is no longer anything standing in the way of her goals. Text by guest author Rudolf Amstutz

Jessiquoi: having the freedom to reinvent yourself

Jessiquoi (Photo: Manuel Lopez)

“Once I am a grown-up, I would like to have a grand piano on stage,” says Jessica Plattner, laughing at her own turn of phrase. Needless to say, at 31 years of age, she has already been a grown-up for some time, but her statement also indicates that she sees herself as an artist on a path to further development that has not yet reached its end. And this is in spite of being one of Switzerland’s most impressive acts with her alter ego Jessiquoi. She composes and produces herself. She is responsible for the visuals, continually creating fantastic worlds, in which Jessiquoi reinvents, redefines herself with the aid of electro-sound environments that are sometimes aggressive, sometimes gentle.

“For me, identity is something that is fluid,” comments Jessica, quoting well-known drag queen, RuPaul: “You’re born naked. The rest is drag.” Then adding: “I believe that every person has the freedom to reinvent themself. Also, no justification is necessary if someone steers their life in a completely new direction. It is like in a video game, where each and every player can specify their own avatar.”

The quest for an identity is the creative driving force: in Jessica’s case, this has its roots in her extraordinary life-history. She was born in Bern. Shortly afterwards, her family emigrated to Australia. When she was a teenager, her father was offered a job at the Bern Conservatory, so the family moved back to Switzerland. This steered her still young career down other paths. Jessica had wanted to be a professional dancer and trained accordingly in Sydney. In addition, the Plattners spoke exclusively English at home. “If I had wanted to pursue my career as a dancer, I would have had to go to Rotterdam or Berlin. But I wanted to be with my family,” she says. “At the beginning, I felt like I was a foreigner in Bern and like I was being excluded. It was only when I started to speak the Bernese dialect that everything was suddenly OK.” The language came to her easily, her German teacher even giving her the nickname “tape recorder”, “because I could play back everything so perfectly,” she laughs.

Alternative existence

The search for her identity in this strange homeland then led her to music – with dance falling by the wayside. “We always had a piano at home, but I never touched it in the beginning. I’d had lessons for a short time, but I hated them. Then I suddenly started writing songs of my own every day,” is the way she describes her musical beginnings.

But if the loss of her familiar environment was not bad enough, seven years ago Jessica suffered the most painful stroke of fate that anyone could possibly imagine. Her brother, who was two years younger than her, died. “We shared everything and were often even mistaken for twins,” she says before explaining how her brother inspired her interest in the world of video games and film soundtracks.

And it was precisely in these worlds where you can reinvent yourself that Jessica found her new home as Jessiquoi. “You could say that Jessiquoi is a fictional character, but in truth she is actually a different version of me,” she says and adds: “This character can also scare you, because Jessiquoi does not inhabit our fixed system of clear gender roles and national identities.”

On her albums, she now tells us about these strange worlds, in which the valleys are contaminated, so people flee to the mountain tops, and where pilots are able to fly in the direction of a better existence. On stage, she brings about this alternative existence all by herself. She has electronic instruments and a command centre for the visual effects on a wooden cart and dances, playing the part of Jessiquoi as absolute ruler of the stage, which is a place of self-determination and constant repositioning. Jessiquoi creates a complete artwork that is impressive thanks to its uncompromisingness, and with which she has also already drummed up enthusiasm in Seville and New York.

The wooden cart – or “trolley” as she calls it – is like a Chinese harp, which she plays live, and is reminiscent of Chinese culture, for which she possesses great affinity. “In the language school, one of my Chinese friends got me interested in her culture. And once when I was in China – it was three o’clock in the morning in Shanghai – I wanted something to eat and there was this old lady with a wooden cart on which she was cooking food. This old cart in the middle of this great metropolis: that’s an image I will never forget. I wanted to be this woman,” she explains, chuckling.

Craft new songs

Self-determination with no ifs or buts, as well as the freedom to keep her own identity in a fluid state are things that Jessica sees as being essential for her art. “For me, the main job of an artist is to dream about the future of our civilisation anew or to make it visible, because this is what absorbs, analyses, criticises and reformulates the world and the people around them.”

Thanks to the Get Going! grant, nothing stands in the way of this exciting development. “I have had to finance myself by playing concerts, which meant I had less time to craft new songs. I now have my annual budget available at a stroke,” she beams. Where this journey ultimately leads her is totally open: “I don’t know what music I will be making tomorrow. It comes easily to me. But I will never let reasons of market strategy stipulate what my music must sound like. I am working on my identity. Me. Just me, nobody but me.”

www.jessiquoi.com

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding. The invitation to apply for 2020 expires at the end of August.

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Searching for her personal identity is the force that drives her creativity. It has enabled Jessica Plattner, alias Jessiquoi, to create a complete audiovisual work of art. The 31-year-old Bern resident says that she is brim full of ideas. Thanks to the Get Going! grant, there is no longer anything standing in the way of her goals. Text by guest author Rudolf Amstutz

Jessiquoi: having the freedom to reinvent yourself

Jessiquoi (Photo: Manuel Lopez)

“Once I am a grown-up, I would like to have a grand piano on stage,” says Jessica Plattner, laughing at her own turn of phrase. Needless to say, at 31 years of age, she has already been a grown-up for some time, but her statement also indicates that she sees herself as an artist on a path to further development that has not yet reached its...read more

Anna Gosteli: “I never know where things will take meˮ

Despite her outstanding training and commercial successes in a number of bands, Anna Gosteli hid her light under a bushel far too often.The 35-year-old resident of Solothurn is now stepping into the limelight and has found her too long-awaited musical identity, thanks to all of her many experiences. The 2019 Get Going! grant gave her the necessary financial independence. Text by guest author Rudolf Amstutz

Anna Gosteli: “I never know where things will take meˮ

Anna Gosteli (Photo: Manuel Vescoli)

Parts of a puzzle like mosaic pieces – before they are put together, they shimmer in all the colours under the sun, but: the full picture is just not there. The correct arrangement, the right sequence of events which gives the finished picture its identity, is missing. “Jack of all trades and master of noneˮ is the way Anna Gosteli describes the state of affairs in which she found herself for years. And this is despite how these individual parts of the puzzle can be seen or heard: piano lessons at the age of 7, then the clarinet, followed by the school choir. At home in the Vorarlberg region of Austria, her mother played the guitar and her father the saxophone. “Even as a child I came into contact with all sorts of musical genres, with golden oldies and pop songs, and in our house there were always instruments available to play.ˮ

At the age of 14, she moved to Switzerland. Yet another piece of the puzzle, followed by more new pieces at regular intervals. When she was 21, she joined the Basel-based art-pop collective, The Bianca Story. Nothing seemed to stand in the way of a stellar career. Appearances at the Deutsche Oper Berlin, recording at Abbey Road Studios in London, however: “In the beginning I was the timid one in the band,ˮ the 35-year-old comments today, quickly adding: “This was entirely something I felt myself, and had nothing to do with the guys in the band, who always treated me as an equal.ˮ In spite of Gosteliʼs international success, this extremely talented singer was always the second voice. Combined with her reserved nature, she was left with the feeling that there could be more to her than meets the eye.

Her liberation began when she attended the Jazz School in Basel. Composition with Hans Feigenwinter, singing with Lisette Spinnler and harmony lessons with Lester Menezes. She is able to laugh about it today, but “at that time I was moved to tears when an irritated Lester once again pointed out to me that what I was doing was boring. My singing tended to be ʼtoo sweetʻ.ˮ Ultimately, this love-hate relationship turned out to be an important driving force in her breaking out of fixed roles and listening to her inner voice. Slowly but surely, the parts of the puzzle that had been collected over the years seemed to be fitting together. A feeling of certainty grew that a bigger, more coherent picture was possibly hidden inside her.

Along with Fabian Chiquet of The Bianca Story, she founded Chiqanne. Working together, they created great pop songs with depth. “Suddenly, I was writing lyrics in German and standing at the very front of the stage.ˮ But the decisive step in completing the puzzle only appeared as a result of the album, “Dr Schnuu und sini Tierliˮ, with a collection of songs for children, and most importantly, for their parents as well. Like so many things in her varied career, this was not planned. “I never know where things will take me. But somehow that can also be a way of doing things,ˮ she laughs.

It happened at Christmas, when Anna, now the mother of a six-year-old son, was looking for presents for the children of her friends. “And because I was really short of money at that time, I wrote a song and gave each child a verse.ˮ After the song about “Poultryˮ, came “Biber (Beaver)ˮ, which she gave to the film composer, Biber Gullatz, by way of thanks for a stay in his Berlin apartment, when she was frequently cooperating with him on television film soundtracks. “Only then did the idea come to me of writing a collection of childrenʼs songs.ˮ

It was behind these actual songs that almost all of the musical experiences that Gosteli had gathered throughout her career were hiding, and which suggested that the puzzle would become part of a glittering oeuvre. Thanks to lots of humour, but also immense psychological depth, these songs show off Gosteliʼs talents as a lyricist, whilst the music – which she performed on stage in collaboration with guitarist, Martina Stutz, – reflects her stylistic journey from golden oldies to pop songs and ultimately jazz.

“Iʼm currently bursting with ideas,ˮ says Gosteli, who teaches singing at the Guggenheim in Liestal, as well as leading a “Female Band Workshopˮ for “Helvetiarocktˮ along with Evelinn Trouble.And, last but not least, she is starting to bring the puzzle nearly to completion in the newly established Kid Empress band. “At last,ˮ states Gosteli, “Iʼve found three musical kindred spirits. We make decisions together and without having to make any compromises.ˮ

The “Schnuuˮ and genre-crossing sound of Kid Empress already clearly indicate that the initial “Jack of all trades and master of noneˮ is being condensed into an independent identity. “The Get Going! grant gives me the necessary financial breathing space at just the right time to be able to immerse myself in this new, creative adventure.ˮ And at this point, she beams all over her face once more.

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!ˮ, creative and artistic processes that do not fall within established categories are given a financial jump-start. Each year, our Portrait Series profiles recipients of Get Going! funding. The invitation to apply for 2020 expires at the end of August.

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Tanya Barany: “The crisis feels a little like being in a rehab clinic to me”“The crisis feels a little like being in a rehab clinic to me” During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Read more
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Despite her outstanding training and commercial successes in a number of bands, Anna Gosteli hid her light under a bushel far too often.The 35-year-old resident of Solothurn is now stepping into the limelight and has found her too long-awaited musical identity, thanks to all of her many experiences. The 2019 Get Going! grant gave her the necessary financial independence. Text by guest author Rudolf Amstutz

Anna Gosteli: “I never know where things will take meˮ

Anna Gosteli (Photo: Manuel Vescoli)

Parts of a puzzle like mosaic pieces – before they are put together, they shimmer in all the colours under the sun, but: the full picture is just not there. The correct arrangement, the right sequence of events which gives the finished picture its identity, is missing. “Jack of all trades and master of noneˮ is the way Anna Gosteli describes the state...read more

“The crisis feels a little like being in a rehab clinic to me”

During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been singing, dancing and performing all my life. The stages have simply become a bit bigger over time,” she says in a written interview. “What was once my bed has mutated into a Gampel Open Air stage.” Her musical career began with her first solo appearance with guitar at a children’s hit parade at the age of 11. At the age of 14 she founded the girl power trio Labyrinthzero, with which she released her first EP with her own compositions and played over 150 concerts at home and abroad.

Found a musical home

Decisive for her musical career was the encounter with Jonas Ruppen, who plays keyboard in her band and creates the videos: “He showed me the world of Radiohead, James Blake, etc. – and suddenly I had found my musical home!” The two have been playing music together for ten years now and work together on the overall concept of “Tanya Barany” – Tanya as songwriter and Jonas as video producer.

She began her musical education in 2014 by studying music at the Zurich University of the Arts, where she says that she was able to benefit from great teachers. “At the same time, I learned how to use the recording program LogicX, which took my songwriting in a completely different direction – my ‘Dark Pop’ saw the light of day!”

The debut album “Lights Disappear”

In 2019, Tanya Barany’s debut album “Lights Disappear” was released. Several performances on stages at home and abroad followed, e.g. Gampel Open Air, Zermatt Unplugged, Swiss Live Talents or at the Blue Balls Festival.

Besides her project Tanya Barany, she is a full-time studio singer and musician, songwriter, lyricist and vocal coach.

“Cotton Clouds”

For “Music for Tomorrow” Tanya Barany performed and recorded the song “Cotton Clouds”. She says the following about the work: “‘Cotton Clouds’ describes the feeling of immersion in water where suddenly everything around becomes silent; where suddenly another world appears. One the one hand, the water walls are depressing (almost oppressive), on the other hand they remind us of the security of an embrace. ‘Cotton Clouds’ is my unreleased hidden track. Like my songs on the album ‘Lights Disappear’, ‘Cotton Clouds’ grew out of the dark corner of my heart, but the track didn’t find a place on the album. I had composed ‘Cotton Clouds’ on the piano at that time; I prefer to play the piano alone for myself, without anyone listening to me. I chose ‘Cotton Clouds’ for ‘Music for Tomorrow’, because I want to invite the audience into my little lounge and take you on a little personal journey … :-)”

Tanya Barany, what does your working day as a composer/lyricist look like during the corona pandemic?
Tanya Barany: At the moment, I have more time to convert my song ideas into finished songs. Therefore, I try to generate as much output as possible – not only for me as Tanya Barany, but also as a ghostwriter for other artists. My partner, David Friedli – also a musician and composer – and I often write together. We move in all possible style directions – from folk to rock to pop to electro pop to soul etc. – it’s really fun!

What does this crisis mean for you personally?
The crisis feels a little like being in a rehab clinic to me. I don’t really want to be there – I miss performing live, cultural life and even planning ahead – who would have thought – and I can’t wait for normality to return.
On the other hand, this crisis also brings something valuable with it: Time! The world just seems to revolve a bit more slowly. Suddenly I am allowed to concentrate on things that are not necessarily on my having to do list but on the nice to do list – that feels incredibly good! This time has made “Reboot” possible, now I feel much more energetic and creative than before the crisis.

How can the audience support you at the moment?
My audience can best support me by telling all my friends and relatives about my music and telling them to buy the “Lights Disappear” CD! 🙂 Dark songs help through dark times … 🙂

Would it help if people on Spotify and Co. streamed your music more often?
When selecting live acts, the organisers look at the number of “listeners” on Spotify, YouTube etc. Therefore, it is surely an advantage if my music is streamed regularly on these platforms. It is also nice to see that my songs are even heard on the other side of the world! But to support me as an artist directly, I am always very grateful for purchased music on iTunes etc. or directly at concerts.

What do you think the current situation could bring with it?
I very much hope that people’s awareness will be sharpened somewhat – on all levels! A little more care, appreciation, solidarity, reflection – that would do us all good!

What do you want to give your fans to take away from this interview?
Dear fans, although it seems to be quieter around Tanya Barany at the moment, I’m working diligently in the background on a new concept, so that it will be even more cracking afterwards – so enjoy the calm before the storm! 🙂 I am already looking forward to presenting you new songs! Thanks for your support so far! Take care <3

www.tanyabarany.ch

“Music for Tomorrow”
The Covid-19 crisis has hit SUISA’s members particularly hard. The main source of income for many composers and publishers has completely been lost: Performances of any kind have been prohibited by the Federal Government until further notice. In the coming weeks, we will be posting portraits of some of our members on the SUISAblog. They will tell us what moves them during the Covid-19 crisis, what their challenges are and what their working day currently looks like. The musicians also performed and filmed their own composition for the SUISAblog at home or in their studio. SUISA pays the musicians a fee for this campaign.
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During the corona crisis, via its project “Music for Tomorrow”, SUISA is providing a platform for some members to report on their work and the challenges they are facing during this period. This time round, the Valaisian musician and songwriter Tanya Barany tells us why she hopes that people in this crisis have focussed their awareness of things like care, appreciation, solidarity or reflection and exclusively performs her song “Cotton Clouds”. Text by Giorgio Tebaldi; video by Tanya Barany, complemented by Nina Müller

“Dark like my British humour, but with a touch of fresh mountain air,” is how Tanya Barany describes her “Dark Pop”. Born and grown up in the Upper Valais, Tanja Zimmermann, that is what she is actually called, found her way to music at an early age: “I’ve been...read more

Helvetiarockt: SUISA supports the voice of female musicians in Switzerland | plus video

Women are still underrepresented in music, on stage and as producers. For this reason, the association Helvetiarockt has been standing up for women in Pop, Jazz and Rock in Switzerland. Since 2019, SUISA is a partner to and supports Helvetiarockt and participated in the “Female* Songwriting Camp” at the Fri-Son, Fribourg, last August. Text by Giorgio Tebaldi; Video by Sibylle Roth

The share of female SUISA members is a little more than 15 percent today. Even though there is a slightly rising tendency – the share of women among new members was at 20 respectively 21 percent – compared to the population share of women which is more than 50 percent, women are still underrepresented in the Swiss music business. That is actually surprising because there is no reason why professions in the music sector should just be a man’s thing.

In order to counteract this imbalance and to ensure that the female musicians are heard, the association Helvetiarockt was founded in 2009. Helvetiarockt has been supporting female musicians for ten years to set foot into the music business and to network successfully. To that end, the association organises a wide range of workshops for (future) female artists, producers and composers. It also offers networking opportunities for female musicians and provides important educational work in order to promote the equality in the music business. Helvetiarockt raises awareness among event organisers and therefore places female artists, female DJs and bands to festivals, clubs and corporate events.

SUISA, a partner of Helvetiarockt

SUISA has been a partner of Helvetiarockt since 2019 and supports the association within the scope of a sponsoring commitment in terms of finance and visibility. As a Cooperative Society for female composers, lyricists and publishers of music, the focus of this cooperation for SUISA lies especially with the “Female* Songwriting Camps”. This year, Helvetiarockt and SUISA also cooperate at the Cully Jazz Festival (27 March to 4 April 2020).

Helvetiarockt has been organising the “Female* Songwriting Camps” since 2015; in the meantime, they take place twice a year, in August, at the Kulturzentrum Galvanik in Zug and in the Fri-Son in Fribourg. During the five-day camps, experienced female songwriters support female participants in group workshops, individual coaching sessions and for the self-study of composing, writing lyrics and arranging. What is more important than finished songs being the outcome at the end is that the female participants can extend their songwriting abilities and build up a network with other female musicians.

Up to now, 42 female musicians visited the “Female* Songwriting Camps” of Helvetiarockt, many of whom, such as Kimbo, Sasa or Anna Mae are now very active. “We were able to ‘empower’ a few female songwriters, and that is a beautiful thing”, says Muriel Rhyner, who is in charge for projects such as the “Female* Songwriting Camps” and the “Female* Producing Circles” at Helvetiarockt. It was her, who called the Songwriting Camps to life five years ago and has been running them since – together with Élodie Romain aka Billie Bird since 2019.

SUISA was present at the “Female* Songwriting Camp” in the Fri-Son and accompanied the coaches as well as the eight participants during the two days. The Songwriting Camp was well received among the female musicians. “At the juncture I was at, it was really important to me that I could meet other people who do the same as me, and that there were professionals who could provide advice or take a look at what I was doing at that time”, says Ines Martenet. Another participant, Emelyne Pannatier, came to the camp with specific questions surrounding the recording process of songs since “she mainly had problems with the structure of a few songs”.

Two “Female* Songwriting Camps” planned in August 2020

Helvetiarockt has also scheduled two “Female* Songwriting Camps” for 2020: from 3 to 7 August in the Kulturzentrum Galvanik in Zug and from 17 to 21 August in the Fri-Son in Fribourg. You can register via the Helvetiarockt website: www.helvetiarockt.ch/songwritingcamp

Just as Ines Martenet said in the video: “You just have to come by!”

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Women are still underrepresented in music, on stage and as producers. For this reason, the association Helvetiarockt has been standing up for women in Pop, Jazz and Rock in Switzerland. Since 2019, SUISA is a partner to and supports Helvetiarockt and participated in the “Female* Songwriting Camp” at the Fri-Son, Fribourg, last August. Text by Giorgio Tebaldi; Video by Sibylle Roth

The share of female SUISA members is a little more than 15 percent today. Even though there is a slightly rising tendency – the share of women among new members was at 20 respectively 21 percent – compared to the population share of women which is more than 50 percent, women are still underrepresented in the Swiss music business. That is actually surprising because there is no reason why professions in...read more

“Répondez-Moi”: Third Swiss ESC song from the SUISA Songwriting Camp

With “Répondez-Moi”, Switzerland is sending a French-language entry to the Eurovision Song Contest for the first time since 2010. The song was written by Gjon Muharremaj (Gjon’s Tears) and SUISA members Alizé Oswald and Xavier Michel of the Duo Aliose together with Belgian producer Jeroen Swinnen at the SUISA Songwriting Camp. Text by Giorgio Tebaldi; Video by Manu Leuenberger

On 4 March 2020, Swiss Television SRF announced the Swiss contribution to this year’s Eurovision Song Contest (ESC). This time, Switzerland is entering the race with “Répondez-moi” sung by the French-speaking Swiss singer-songwriter Gjon’s Tears. Following “Stones” by ZiBBZ (2018) and “She Got Me” by Luca Hänni (2019), this is the third time in a row that the Swiss ESC song comes from the songwriting camp organized by Pele Loriano Productions and SUISA.

Répondez-Moi” was composed in June 2019 in the Powerplay Studios in Maur / Zurich in a one-day songwriting session by the song’s interpreter, Gjon Muherramaj (Gjon’s Tears), together with SUISA members Alizé Oswald and Xavier Michel of the Geneva-based duo Aliose and Belgian songwriter and producer Jeroen Swinnen. The song won the internal selection procedure of the Swiss television SRF.

“Too many ideas and not enough time”

“I remember the good vibes,” reports Xavier Michel. At the same time the four composers were under time pressure, as Xavier Michel says. “In one day, you have to get to know one another, and have to start working together. Then by the evening, you have to have something finished.” Jeroen Swinnen adds: ” We never had enough time, never! We had too many ideas and not enough time. It’s better than having no ideas.”

“The melody evolved quickly,” says Alizée Oswald in the video interview. “Then we asked ourselves what words would sound good. Because that’s always how it is with French. It’s very challenging to make it sound like English, for example.”

Simple, naive language for universal topics

The search for the right words was very important to the four songwriters in order to convey the universal message of the piece. “The challenge was to get quite a simple feel to the lyrics – almost naive, like the language of a child,” explains Alizée Oswald. From the song you can hear that it is a universal theme to get answers to questions. This simplicity was especially important to Gjon Muherramaj: ” The first time we talked, I said that, for me, the most important value of all is innocence,” he says. ” It’s that experience of rediscovering what it’s like to learn something. When you discover the beauty in something, for example, you see a child who suddenly realises that the Earth is round or that there are several continents.” He adds: ” I think that the song’s message for the listener is: even if you have a lot of questions with no answers, you can keep on asking questions all your life.”

For the first time since 2010, a song in French is going to the ESC for Switzerland

With “Répondez-Moi”, Switzerland is sending a French-language song to the ESC for the first time since 2010 after Michael von der Heides’ song “Il pleu de l’or”. ” I think that for us having a French song at Eurovision, that’s a key point ,” says Xavier Michel in the video interview. “Supporting a beautiful language, our language.“

“A song that grabs me, it’s really about the alchemy between the lyrics, the music and the voice,” says Alizée Oswald. ” With this song, there is a moment, when Gjon sings the chorus, for example, and the first words come together, the first arrangements. And that’s when I realised that this song could be really great.”

Gjon’s Tears became known to a wide audience in Switzerland and France through his participation in the eighth season of “The Voice France”, where he advanced to the semi-finals. In 2018, the singer-songwriter was also a participant in the Gustav Academy, which is run by the Fribourg musician and SUISA member Gustav and promotes young Swiss musicians both musically and linguistically.

The Eurovision Song Contest is probably the most famous music competition in the world. More than 182 million viewers around the world watched the two semi-finals and the Grand Final on television in 2019. Switzerland reached 4th place in the final with Luca Hänni’s song “She Got Me”. This year, the ESC will take place from Tuesday 12 May to Saturday 16 May in Rotterdam, the Netherlands. In the second semi-final on 14 May, the Swiss entry will compete for entry into the ESC Grand Final.

SUISA and Pele Loriano Productions will again hold a Songwriting Camp this year. SUISA members will be able to reapply for participation in the camp. Information on the application procedure will soon be published on the SUISAblog.

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Swiss Music Awards: Songwriters are awarded with the “Best Hit” awardSwiss Music Awards: Songwriters are awarded with the “Best Hit” award This year, the Swiss Music Awards will honour the Swiss “Best Hit” of the previous year once again. But the award does not only go to the performers of the best hit: Thanks to SUISA, the songwriters of the winning song will also be honoured for the fifth time. Performing artists and songwriters talked about the development of the songs in interviews. Read more
Creative teamwork at SUISA’s 2018 Songwriting Camp | plus videoCreative teamwork at SUISA’s 2018 Songwriting Camp | plus video SUISA organised the second edition of its Songwriting Camp in cooperation with Pele Loriano Productions. Like the premiere last year the camp again took place at the Powerplay Studios in Maur. A total of 36 musicians from eight different countries attended the three-day event in June 2018, creating 19 pop songs in a wide range of musical styles. Read more
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With “Répondez-Moi”, Switzerland is sending a French-language entry to the Eurovision Song Contest for the first time since 2010. The song was written by Gjon Muharremaj (Gjon’s Tears) and SUISA members Alizé Oswald and Xavier Michel of the Duo Aliose together with Belgian producer Jeroen Swinnen at the SUISA Songwriting Camp. Text by Giorgio Tebaldi; Video by Manu Leuenberger

On 4 March 2020, Swiss Television SRF announced the Swiss contribution to this year’s Eurovision Song Contest (ESC). This time, Switzerland is entering the race with “Répondez-moi” sung by the French-speaking Swiss singer-songwriter Gjon’s Tears. Following “Stones” by ZiBBZ (2018) and “She Got Me” by Luca Hänni (2019), this is the third time in a row that the Swiss ESC song comes from the songwriting camp organized by Pele Loriano Productions and SUISA.

Répondez-Moi”...read more

Swiss Music Awards: Songwriters are awarded with the “Best Hit” award

This year, the Swiss Music Awards will honour the Swiss “Best Hit” of the previous year once again. But the award does not only go to the performers of the best hit: Thanks to SUISA, the songwriters of the winning song will also be honoured for the fifth time. Performing artists and songwriters talked about the development of the songs in interviews. Text by Giorgio Tebaldi

Swiss Music Awards: Songwriters are awarded with the “Best Hit” award

The nominees in the category “Best Hit” at the Swiss Music Awards: “Punto” by Loco Escrito, “She Got Me” by Luca Hänni and “Für immer uf Di” by Patent Ochsner. On behalf of SUISA, the composers are also honoured. (Photos: Nina Müller)

“She Got Me” by Luca Hänni, “Punto” by Loco Escrito and “Für immer uf Di” by Patent Ochsner were the most successful songs in the Swiss charts last year and are thus nominated for the Swiss Music Awards 2020 in the category “Best Hit”. However, there are no hits without songwriters: On behalf of SUISA, the composers of the “Best Hit” will also be honoured at the award show on 28 February 2020 in Lucerne’s KKL.

This award is intended to show and acknowledge the work of the songwriters behind the big hits, too. For Luca Hänni this is an important matter, as he points out in the video interview: “I think it is mega important that the songwriters are on board, too. That’s the be-all and end-all. With these people you have the feeling in the studio, you write stuff and bring the emotions into the computer.”

Three songs, nine songwriters

Besides Luca Hänni, five other songwriters have been nominated for the “Best Hit” award for “She Got Me”: The song was composed in just one day at the SUISA Songwriting Camp 2018 by Luca Hänni, Laurell Barker (CAN), Jon Hällgren (SWE) and Frazer Mac (CAN). Until its finished version, which achieved an excellent fourth place for Switzerland at last year’s Eurovision Song Contest, the song was further refined together with Lukas Hällgren (SWE) and Jenson Vaughn (CAN).

Büne Huber, singer of Patent Ochsner, is also pleased that songwriting is honoured at the “Best Hit” award: “In many cases in music history, the people who provide important inputs to songs are not mentioned at all”, says Huber in the video interview. The only one of the three nominated songs “Für immer uf Di” was written by a single person: Büne Huber himself. The first song sketch was already drafted in 1994; only after the death of his mother, 24 years later, did he finish the song in a very short time.

Not only Loco Escrito can hope for a concrete block for “Punto”; the co-songwriter and producer Henrik Amschler is also in with hopes. The two have been writing the songs of Loco Escrito together for years and were already honoured with the “Best Hit” award in 2019 for the song “Adiòs”. Henrik Amschler is delighted that they could win the award again this year: “It is a huge acknowledgement that we have been nominated for the second time”, he says in an interview with SUISA. The song, which is about the end of a relationship, was created in a spontaneous session between Amschler and Loco Escrito – which is typical for the well-rehearsed team.

The winning song is chosen by the audience via telephone voting during the show.

  • “She Got Me”: Luca Hänni
    Songwriters: Laurell Barker, Luca Hänni, Jon Hällgren, Lukas Hällgren, Frazer Mac, Jenson Vaughn
  • “Punto”: Loco Escrito
    Songwriters: Henrik Amschler, Loco Escrito
  • “Für immer uf Di”: Patent Ochsner
    Songwriter: Büne Huber

Video interviews with nominees

During the interviews, Loco Escrito, Henrik Amschler, Büne Huber and Luca Hänni told us how their hits came about and what stories lie behind the songs. Videos of the interviews can be viewed on the SUISA Music Stories channel on Youtube:

Büne Huber from Patent Ochsner talks about the song “Für immer uf di”
Loco Escrito and Henrik Amschler in an interview about “Punto”
Luca Hänni talks about “She Got Me”

www.swissmusicawards.ch

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This year, the Swiss Music Awards will honour the Swiss “Best Hit” of the previous year once again. But the award does not only go to the performers of the best hit: Thanks to SUISA, the songwriters of the winning song will also be honoured for the fifth time. Performing artists and songwriters talked about the development of the songs in interviews. Text by Giorgio Tebaldi

Swiss Music Awards: Songwriters are awarded with the “Best Hit” award

The nominees in the category “Best Hit” at the Swiss Music Awards: “Punto” by Loco Escrito, “She Got Me” by Luca Hänni and “Für immer uf Di” by Patent Ochsner. On behalf of SUISA, the composers are also honoured. (Photos: Nina Müller)

“She Got Me” by Luca Hänni, “Punto” by Loco Escrito and “Für immer uf Di” by Patent Ochsner were the most successful songs in the...read more

How do you write a streaming success?

Tips and reflections on modern song structures by successful songwriters as well as other music industry representatives at the SUISA panel “How streaming is changing songwriting” in the course of the M4music festival on Saturday, 21 March 2020, at Moods. Text by Erika Weibel

M4music 2019 SUISA Panel Hit the World

KT Gorique, Laurell Barker and Shelly Peiken (f.l.t.r.) talking about songwriting at the SUISA panel “Hit the world / this is how international hit composers work” at the 2019 M4music festival. (Photo: Ennio Leanza / M4music)

Even the most creative songwriters go unnoticed if they are not able to get their music heard. In a highly competitive and oversaturated sector, songwriters need attract attention. They must stand out from countless other professional authors. Especially in the pop/urban genre, you must win over an audience whose listening behaviour is strongly influenced by music consumption via streaming services.

On the occasion of the SUISA panel at the 2020 M4music festival, successful songwriters are going to discuss with people from the music business what a song needs to sound like in order to satisfy the taste of the increasing streaming audience or to even win it over.

The SUISA panel “How streaming is changing songwriting” takes place on:
Saturday, 21 March 2020, between 1.45pm and 3.00pm in the Moods, Schiffbau in Zurich.

The big challenges of the new era

Spotify founder, Daniel Ek, said in April 2019 that nearly 40,000 tracks per day were uploaded to the Spotify platform. A projection of these figures would result in 280,000 songs per week, 1.2 million tracks per month and a whopping 14.6 million per year. To stand out from the masses is a huge challenge.

A potential springboard for songwriters could be to be included in a curated playlist. Songs in a curated playlist are grouped in order to appeal to a specific audience – this means more listeners, more “shares” and more income for the rights holders. It also entails a better chance that a song stands out to a “music supervisor”, i.e. People who look in those playlists for songs to be used in current TV and film productions. It is, however, only a small part of the published songs that manage to make it to the playlist.

Another new challenge brought about by streaming is also that music creators only get their royalties if their song has been streamed for 30 seconds. The listeners must, after all, not ‘bail out’ from listening too early, otherwise there’s no money. On top of that, the rule for radio or TV is: the longer the song the higher the income. In the case of streaming this is different: You get paid per stream.

How much do these new game rules affect composers? Will there only be short songs without intros that build them up and instead, catchy hook lines from the first beat? What role do song lyrics play today? How does a song need to sound in order to be included in a playlist?

Come to the SUISA panel and join our discussion!

SUISA- Panels at the 2020 M4music festival
“How streaming is changing songwriting”
Saturday, 21 March 2020, from 1.45pm to 3.00pm
in the Moods, Schiffbau in Zurich

Speaker:

  • Janine Cathrein, Singer Songwriter, Zurich
    Singer songwriter Janine Cathrein is a part of Black Sea Dahu. After publication of their successful debut album “white creators”, the band has been touring without interruption, they performed at 120 concerts in 2019 alone.
  • Julie Born, Managing Director Sony Music Entertainment Switzerland GmbH, Zurich
    Julie Born has been active in the Swiss music business for more than 30 years. In her position as Managing Director of Sony Music Switzerland, she and her team are responsible for establishing and building up artists in a variety of music fields.
  • Henrik Amschler, Producer Songwriter, Zurich
    Born in Zurich in 1989, he is known as HSA. He is a well-known Urban/Pop music producer and songwriter. He has contributed to various gold and platin productions and won prestigious awards (such as the Swiss Music Award as a songwriter) He produces Loco Escrito and Mimiks, among others.
  • Loris Cimino, producer and songwriter, Reinach AG
    The 22-year-old producer can already count more than 2.5 million streams in 2019, and that just on Spotify. He produces music of renowned artists and enjoys international success as a DJ with official remixes for artists such as David Guetta and Meghan Trainor. He is also co-writer of the official trailer for the current “America’s got talent” show.

Moderator: Nina Havel

www.m4music.ch

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Tips and reflections on modern song structures by successful songwriters as well as other music industry representatives at the SUISA panel “How streaming is changing songwriting” in the course of the M4music festival on Saturday, 21 March 2020, at Moods. Text by Erika Weibel

M4music 2019 SUISA Panel Hit the World

KT Gorique, Laurell Barker and Shelly Peiken (f.l.t.r.) talking about songwriting at the SUISA panel “Hit the world / this is how international hit composers work” at the 2019 M4music festival. (Photo: Ennio Leanza / M4music)

Even the most creative songwriters go unnoticed if they are not able to get their music heard. In a highly competitive and oversaturated sector, songwriters need attract attention. They must stand out from countless other professional authors. Especially in the pop/urban genre, you must win over an audience whose listening behaviour is strongly...read more

A tribute to Claudio Taddei

On 9 August this year, singer-songwriter and painter Claudio Taddei passed away at the age of 52. Obituary by Rossana Taddei and Sara Ravarelli

A tribute to Claudio Taddei

Rossana and Claudio Taddei. (Photo: Alejandro Persichetti)

Born in Uruguay to parents from Ticino, Claudio grew up between Switzerland and South America, where he embarked on a glittering musical career that took him to the top of the South American charts. In 2002, at the height of his fame in Uruguay, Claudio was struck down by a serious illness that led him to return to Switzerland. Here he alternated periods of intense medical treatment with a busy schedule of concerts and artistic performances, quickly becoming a popular figure in Ticino – a renowned musician and celebratedpainter.

Claudio Taddei began indulging his passion for music in childhood, together with his sister Rossana, who has also enjoyed a successful musical career in Uruguay. A SUISA member for some years now, Rossana wanted to share with us her loving and personal memory of Claudio, as a brother and artist. (Sara Ravarelli)

Dear brother, friend and companion on a journey full of adventures and dreams

A sun, a giant star full of light.
You always loved to trace the path of the sun and to the sun you now return.
There is no farewell because you live on in all your songs, in every brush stroke, in your colours, in our hearts and minds.
Dear brother, friend and companion on a journey full of adventures and dreams, we shared an eternal bond, as if two twins.
Your bright, cheerful, curious eyes reflect the broad smile of your guiding heart. You sang and told your story, your joy, your sadness, your goodness.
Let your true hand now guide the way for all of us who loved you and want to start walking again, to move forward in accepting the pain and void of your absence.
I will miss you, we will miss you. I will fill the hole by singing and telling our story, our being brother and sister.
Creativity always saves us and has always saved us.
Creativity always unites us and has always united us.
It was the strongest thread in our bond and will always be what unites us.
Every image in my memory starts and ends with a heartfelt smile.

Intensely calm
Worryingly intense
Silently noisy
Untidily tidy
Passionately quiet
Quietly passionate
Stubbornly shy
Shyly exuberant
I know you inside out, brother, yet I do not know the depth and infiniteness that you were and continue to be.

Thank you for being a mentor. Life is a gift: you must know how to lead it for the gift to become light.

“Te toca la pena, también la alegría y el amor. No dejes que nada espere, la vida hace siempre lo que quiere, más vale echarle picante y hacer que las cosas se vivan bien pa’delante.”

Rossana Taddei

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On 9 August this year, singer-songwriter and painter Claudio Taddei passed away at the age of 52. Obituary by Rossana Taddei and Sara Ravarelli

A tribute to Claudio Taddei

Rossana and Claudio Taddei. (Photo: Alejandro Persichetti)

Born in Uruguay to parents from Ticino, Claudio grew up between Switzerland and South America, where he embarked on a glittering musical career that took him to the top of the South American charts. In 2002, at the height of his fame in Uruguay, Claudio was struck down by a serious illness that led him to return to Switzerland. Here he alternated periods of intense medical treatment with a busy schedule of concerts and artistic performances, quickly becoming a popular figure in Ticino – a renowned musician and celebratedpainter.

Claudio Taddei began indulging his passion for music in childhood, together with his sister...read more

The result of an endless passion for experimentation

The Eclecta duo, made up of Zurich and Winterthur residents Andrina Bollinger and Marena Whitcher, experiments with sounds that defy established definitions and seeks out interdisciplinary exchanges with other art forms. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Eclecta: The result of an endless passion for experimentation

The Eclecta duo. (Photo: Andrea Ebener)

The place where verbal definitions of different arts implode; where stylistic pigeon-holes exist only as relics of past times; where everything can unfold freely and continually move into more and more new arrangements: that is precisely where Eclecta feel at home. Eclecta is a duo featuring Andrina Bollinger and Marena Whitcher, both of whom are solo artists, multi-instrumentalists and singers. And both are, as they describe themselves, “quite simply curious”. Which is something of an understatement. An unadulterated passion for experimentation is their driving force. Although in their late twenties, the couple have not forgotten their youthful enthusiasm, but combine it with mature reflection and are therefore better able to integrate additional elements into their art, which means the result always remains homogeneous.

Andrina Bollinger and Marena Whitcher got to know one another at jazz school, but it was actually the second time they had met. “We had already met as children in the (childrenʼs circus school) ʻCircolino Pipistrelloʼ”, says Bollinger. Whitcher laughs, adding: “But we only found out later that this was the case.” You cannot escape fate, so what was bound to happen inevitably did: “When Marena was asked to do a solo concert, she didnʼt have enough material to be able to fulfil the booking on her own. So she asked me. We then amalgamated our songs, which proved to be the start of everything”, recounts Bollinger.

Their first album from 2016 is called “A Symmetry”, and the play on words concealed in this title says it all, both women are in fact actually confident individuals when it comes to their manner and their art, who have been happy to tread their own path in a large number of collaborations and solo performances. “From the very start, we played two characters that are totally different. Eclecta thrives on this duality, this asymmetry, but at the same time we also have the opportunity to melt into one another”, explains Whitcher, to which Bollinger adds: “We can blend our voices, so that people can hardly distinguish one from the other. The album title describes this ongoing interplay between symmetry and asymmetry.”

The 15 songs, which, as previously mentioned, refuse to be pigeon-holed and deliberately map the stylistic spaces which contribute to the experiment, when added together become an opalescent kaleidoscope of euphoria and melancholy, of passion and thoughtfulness. And listeners still find “A Symmetry” astounding even three years after it first appeared, allowing more and more details to be unveiled: for the protagonists, today the record represents only a snapshot of their artistic process. “On our forthcoming album, which we hope to release at the beginning of 2020, we want to advance this play even further, so that the whole thing continues to become more intermeshed.”

“The Get Going! funding gives us something very precious, namely time. Apart from that, you are never paid for the immensely long period of time it takes to get to grips with specific topics, and to research and write songs.”

What this will sound like, reckon the duo with a wink, “currently remains a secret”. When they talk of their influences, they range from social issues to painting, from theatre to performance art, from literature to philosophy. Whitcher, who has American roots on her fatherʼs side, is enthusiastic about the surrealists and, during her performances, goes into such questions as “What are monsters nowadays and why do we need them?” or “Having first world problems and creating art – do they go together?”. It is also important to Bollinger to integrate political and social topicality into her creative work. Consequently, she writes about such issues as climate change, freedom of thought and digitisation, as well as searching for places where numbers and codes do not control us. She splits her time between Zurich, Berlin and her Engadine homeland, trying to capture the sounds of these different places, because, as she says, “it is crucial where you are when you are creatively active”.

One of these creative playgrounds is also the stage. With instruments and costumes she makes herself, she transforms a performance into a kind of complete artwork. Therefore, in future they want to make increased use of the medium of video in order to lend a visual aspect to their music. But this is only one of what seems like a thousand ideas with which these two musicians are busy. In the end, Eclecta should also be a statement that contradicts the zeitgeist: “In our individualised society, everyone is focused entirely on themselves, never once glancing at what is going on around them.” Whitcher believes “Yet community is a basic requirement of humans”, and Bollinger adds: “I already see it as one of our jobs to reflect the world in our art and to encourage a different way of thinking.”

In any event, they regard the Get Going! funding from FONDATION SUISA as something that offers them a great deal of freedom. “It gives us something very precious, namely time”, comments Bollinger. “Precisely”, emphasises Whitcher, “apart from that, you are never paid for the immensely long period of time it takes to get to grips with specific topics, and to research and write songs”. When you look at it this way, Eclecta is a fine example of this kind of encouragement, because both of these young ladies are venturing down paths that so far remain untrodden and now no longer risk falling between two stools with their passion for experimentation.

www.eclecta.ch

FONDATION SUISA started awarding new grants in 2018. Under the heading of “Get Going!”, creative and artistic processes that do not fall within established categories are given a financial jump-start. Our Portrait Series profiles recipients of Get Going! funding.

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All comments will be moderated. This may take some time and we reserve the right not to publish comments that contradict the conditions of use.

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The Eclecta duo, made up of Zurich and Winterthur residents Andrina Bollinger and Marena Whitcher, experiments with sounds that defy established definitions and seeks out interdisciplinary exchanges with other art forms. FONDATION SUISA is supporting this project financially with Get Going! funding. Text by guest author Rudolf Amstutz

Eclecta: The result of an endless passion for experimentation

The Eclecta duo. (Photo: Andrea Ebener)

The place where verbal definitions of different arts implode; where stylistic pigeon-holes exist only as relics of past times; where everything can unfold freely and continually move into more and more new arrangements: that is precisely where Eclecta feel at home. Eclecta is a duo featuring Andrina Bollinger and Marena Whitcher, both of whom are solo artists, multi-instrumentalists and singers. And both are, as they describe themselves, “quite simply curious”. Which is something of an understatement. An unadulterated passion...read more

KT Gorique, conquering the East side

SUISA member KT Gorique had been invited to the panel organised by SUISA, “Hit the World” at the M4music Festival 2019, in her capacity as an expert for songwriting in the Rap genre. Shortly afterwards, it became known that she is one of the price winners of the Swiss Music Awards 2019. An interview with the rapper who lives in the Valais, and who carries her music into the whole of Switzerland. Text by guest author José Tippenhauer, Swissmusic.ch

KT Gorique, conquering the East side

“She performed on stage in the Senegal, in Canada and all over Europe and it is not possible to imagine the Swiss rap scene without her”, writes the Federal Agency for Culture (BAK) with regards to the recent award winner of the Swiss Music Award 2019, KT Gorique. (Photo: Jérémie Carron)

KT Gorique deserves her nickname “Swiss knife”. After winning the international rap improvisational contest End of the Weak in New York in 2012, she starred in the film Brooklyn by Pascal Tessaud, portraying the young rapper Coralie. In 2016, she released her first album Tentative de Survie and last year, she entered the charts with her project Kunta Kita. A few weeks after her nomination at the Swiss Music Awards, her ascent continues. She’ll be warming-up for Nicki Minaj at Hallenstadion (Zürich) and is so far the only French-speaker on the bill at Frauenfeld. 2019 is full of promise for this Valaisanne rapper with whom we talked about Switzerland, her inspirations and her creative processes.

Your last project “Kunta Kita” was released in July 2018. What’s been the outcome for you?
KT Gorique: This project has marked a big change in my career. I could not have expected half of what has happened to me as a result!
Since its release, I’ve played forty gigs, including my first as headliner, and several were sold-out (St. Gallen, Lucerne …). These last six years, I’ve primarily done “discovery” gigs for people who didn’t necessarily know me. With “Kunta Kita”, a fan base has now been established. The paradox is that most of my audience comes from German-speaking Switzerland despite the fact that I sing in French, quite unbelievable!
The project is distributed by the Zurich label FarMore Records, but most importantly, in September SRF3 named me “Best Talent” of the month. It’s mainstream radio that has brought me to a different audience. I notice it at my concerts where there are now hip-hop fans, punks, rastas, rockers, young and old people. For me, this is the best gift. I make music for everyone, not just for those who already have the rap vocabulary.

Now that you’re performing a lot in German Switzerland, what do you think of this famous Röstigraben (the symbolic barrier between the French and German-speaking parts of the country)?
The budget that the audience is ready to part with is very different. I recently played a date in Lausanne with other French-speaking artists, the entry fee was 25 CHF. I thought people would find it expensive and, indeed, the room was not full. The following week, I played in German Switzerland, just me and a warm-up act for 30 CHF, and the venue was full!
I have the impression that in Romandie (French part of Switzerland) we seek our identity from the French side. Whereas when the Swiss Germans see Swiss artists who have talent, they say “it’s cool because they are good and especially because they are Swiss!” And they will encourage them.
In Romandie, we tend to appreciate our artists only if they are validated in France, or at least outside our borders. Fortunately, things are starting to change. I recently performed with Danitsa, Comme1Flocon, SWK and Chien Bleu – a similar line-up with just French-Swiss artists would have been impossible 3 years ago!
To come back to the Röstigraben, when I tell the Romands that I am going to gig in German Switzerland, they say to me: “But aren’t they really closed-minded?!” On the contrary, I realize that they are twice as open as us! The proof is that they welcome us, but the Swiss-German rappers are unknown here.

In “Outta Road”, you hit upon people dressed in yellow vests, before the group had become a movement. In your “NAYUNO Session”, you talk about the “Gilets jaunes”, saying: “yellow has the edge this winter, they wear it as a vest, I want everyone together.” Is this a cutting remark?
On the contrary, it’s a message of encouragement. If I were French, I would be on the road every day with them, wearing yellow vests all the time, even on my legs!
Everything I write comes from instinct. I find it wonderful when I see people who do not necessarily come from the same social backgrounds asserting their rights as human beings, because they are in an unfair or unbearable position. So when I say “I want everyone together” it means “I’m with you till the end!”

Let’s talk specifically about your creative process. What do you mean by “writing from instinct”?
To come up with lyrics, first of all, I need a beat. I can sometimes write a little without one, but it won’t result in an entire song. When I want to start writing a song, I automatically need to have music, it’s what determines the words.
With regard to inspiration, my source is the day-to-day. There are many things in life that I’m sensitive to. It can be what I see, what I live, what I hear, the experiences of people around me, my family or difficulties that I encounter. It can be very personal, but also more global – as in the example of the Gilets jaunes.
From there, I’m guided by the music and emotions. I try to connect to what I’m feeling and to shape this around the rhythm. I quite often write on my computer, otherwise, when I want to keep things really sharp and instinctive, I write out the lyrics directly in my head. I do one sentence after another and I retain them little by little, without having to transcribe anything onto a sheet of paper. The voice melodies and the flow then start to follow naturally, depending on what I want to say. This way I feel much more instinctive: direct in what I mean and how I want to come across.

In addition to writing your lyrics, you also compose your own beats. How do you do this? What sounds do you start with?
Yes, I compose from time to time. In theory, I start off with a base, a little vibe that acts as an energy, for example something that could be melancholic, a bit reggae or a little cainfri (“African”). I always set off with a kind of colour that’s in my head, it’s actually very abstract. I then try to transcribe, melodically-speaking, what’s in my head, using a lot of samples on my MIDI keyboard. I keep looking and looking until I find the right sound or the notes that speak to me. I then start with the basic melody and I build around it from there. I continue like this until my instrumental part is composed.

KT Gorique on Youtube

The interview with KT Gorique was held in the course of the thematic dossiers “A la découverte du rap romand” (Discovering Rap in the French part of Switzerland) by Swissmusic.ch and was first published there in March 2019.

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SUISA member KT Gorique had been invited to the panel organised by SUISA, “Hit the World” at the M4music Festival 2019, in her capacity as an expert for songwriting in the Rap genre. Shortly afterwards, it became known that she is one of the price winners of the Swiss Music Awards 2019. An interview with the rapper who lives in the Valais, and who carries her music into the whole of Switzerland. Text by guest author José Tippenhauer, Swissmusic.ch

KT Gorique, conquering the East side

“She performed on stage in the Senegal, in Canada and all over Europe and it is not possible to imagine the Swiss rap scene without her”, writes the Federal Agency for Culture (BAK) with regards to the recent award winner of the Swiss Music Award 2019, KT Gorique. (Photo: Jérémie Carron)

KT Gorique deserves...read more