Masquerade, the title of the composer and DJ Gayance’s first album, first refers to her Creole roots. It is then a transparent word, a cognate, which has the same meaning in English and in French: a costume party in the literal sense, but in the figurative sense “a misleading staging” according to the Petit Robert, “an action or appearance which is only a disguise or a spectacle” according to the Merriam Webster. “Because yes, life is a big masquerade,” says Gayance. Sometimes it’s nonsense… but it’s beautiful! That’s also what I wanted to share” with this musically bursting album of a thousand house, footwork, soul and gospel lights.
The day before our telephone meeting, Aïsha Vertus landed in São Paulo from Amsterdam, in the middle of Mardi Gras. The carnival in the capital of southern Brazil differs from that of Rio de Janeiro, which is more attached to its tradition of samba schools, she analyzes. That of São Paulo is more colorful, chaotic, which looks a lot like it: “It’s weird, but having a carnival, it relieves me of stress, loose Aïsha. It’s like a purge, a way to get the bad guy out by singing, shouting, dressing up and frenchant ! »
“I’m difficult to manage, that’s what I’ve always been told,” she blurts out. “Out of control !” How many times have I been told that? Yet I am precisely in control. I can decide to go and live two months alone in a country, then get up one morning and decide to change places. I think people don’t like lone wolves, and I’m one — that is, I’m super social, but I move solo. »
Travels
Masquerade opens with a brief audio DIY titled Interlude Between Brussels&Rio, Aïsha humming in a European train, the rolling waves on a Brazilian beach in the background. She. In Brussels, I made lifelong friendships that go way beyond music. Same thing for Brazil. »
She travels with as much appetite in this first album, browsing from one genre to another which all share this common denominator that is the broken beat. A subgenre that emerged in Britain in the mid-1990s, the broken beat, jerky as its name suggests, appropriates elements of house, funk, jazz and drum&bass — incidentally, a landmark album to the ears of the inventors of the broken beat is Light as a Feather (1972), second album from the jazz fusion project Return to Forever by Chick Corea, soaked in Afro-Brazilian rhythms and sung by Flora Purim.
It is mainly the influence of the English electronic scene that transpires from Masqueradeconfirms Aïsha: “For a while, some even thought I was British ! She’s also fond of New York house and Detroit techno, which surface on the album (and Chicago footwork, whose typical time signature crosses Clout Chaser’s Anthemsung by Janette King), “but I love the vibes English, and it’s an honor for me to launch this album on a label English — founded and led by a black musician, that’s important. »
Founded by DJ Bradley Zero about ten years ago, Rhythm Section International pushes the boundaries of house music in its own distinct way, establishing itself as a rich breeding ground for new talent, of which Gayance today has the privilege of being part of it — a privilege, since this association attracts the attention of the international press, even opening the doors to BBC radio, where she will present her new album in a few days. “I’m still overwhelmed! »
A love letter
A figure on the Montreal underground electronic and hip-hop scene, Aïsha Vertus was a privileged witness to the Piu Piu movement that united a number of local instrumental hip-hop composers more than a decade ago (including VNCE Carter, Dr. MaD, High Klassified and her friend Kaytranada) before becoming a DJ with refined and eclectic tastes, then a composer and director. We must measure the path traveled until Masquerade from its first release in March 2021 to fully appreciate this first album: taking over the song a cappella Fruta Gogoia (1971) by Brazilian icon Gal Costa, Aïsha seasoned it with a cadenza of her own, a slow breakbeat matched by a funk bass line and samba percussion. Pretty, but simple, compared to what we discover on her first album.
Masquerade is the result of two years of hard work and learning the craft, but also that of musical encounters, with guest singers Janette King, Hua Li, Raveen, Judith Little D and collaborators David Ryshpan (keyboards) and Émile Farley ( low).
I love the English “vibe”, and it’s an honor for me to release this album on an English label — founded and led by a black musician, it’s important
“I am grateful for life, for the journey I have had and for all those who worked on this project, the musicians like the production team of the film, shot in Brazil and Quebec, which accompanies the album. As a DJ, I listen to a lot of music, but I don’t compose like someone who studied music, even though I took piano lessons as a child. I love music, I try to recreate things I’ve heard, and I can then count on my collaborators to magnify the result. Together, we worked on something beautiful, which I call a love letter to Afro-descendants, specifically from Quebec. »
Gayance will be back in Quebec for the album launch concert — and film screening — on May 20 at Center Phi. Until then, she will present these new songs on stage in Portugal and at the Jazz Cafe in London. “I want people to know that I have impostor syndrome,” insists Aïsha. Not to reveal one of my weaknesses to them, but so that other women artists, other musicians who compose and produce their own material understand that it is normal to feel this way. I want people to know how I can feel to encourage them too to push through this and achieve their goals, because if I made it, other women will too. »