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Ghislain Porier (Interview) :: Montreal's big beat barons give a French Kiss

By Vanessa Villalobos   Photography by Dan Bergeron

03/19/08 :: URB web

Fixated with big beats of every vaariety, Montreal' Ghislain Poirier  has been on a roll, releasing tracks with local heavyweights Ninja Tune, touring the globe and mashing-up everyone from Weezy to Bonde do Role. URB had to ask ten questions.

1. How do you think growing up in Montreal has influenced your music?
As a Quebecois and by having French as my first language, I certainly have a different perspective on music and culture in North America. I'm naturally curious about the scene in many regions and countries--language is not an issue for me, even if I don't understand it at all. Language is music too. My eyes and ears are always open.

2. How big of a difference of reactions do you see in U.S. crowds as opposed to Canada and Europe?
It's pretty impossible to generalize since so many factors are involved in a live gig or a DJ gig : promoter, day of the week, weather, etc. I can easily say that Montreal is really my home physically and on the creative level. In Montreal people have been following every step I've been making for many years and I'm really grateful for that. US and Europe have pretty much the same response: dirty beats are welcome !

3. Do you only use a live set of drums to emphasize the bass beats more or do the live instruments vary?
Bringing the drum on stage is allowing me to have a huge riddim section. The drummer, Christian Olsen and I are both fighting to have the heaviest beat possible! Naturally, Chris brings a contrast and a definition to my tracks and I really enjoy that.

4. Dubbed as global ghettotech and hip hop with grime, how would you truthfully describe your music?
I'll describe it simply. Three big axes : ragga (or reggae to be more historically specific), hip-hop and electronic music.  I like all the bastard children made from mixing these genres together and lots of bass--that's it.

5. Starting with minimal techno and ambient music to the now hip hop infused beats, what in your life encouraged this change?
It was a public change but not a personal change. In fact, the first track I was suppose to release (that was before the 12k album in 2001) was a big fat distorted hip hop beat, but the compilation that was including it was never released. I've always done my beat and ambient stuff at the same time, but I was interested in starting out with a full album of the more ambient stuff. It took a couple of years for me to be satisfied enough with my beats to release them and "Beats as Politics" represents the first big move in that direction.

6. How did you come about throwing the Bounce le gros parties and how would you describe them to a stranger?
Bounce le gros was and still is a concept. I didn't play funky or groovy music--I played bounce music (in the large sense), with lots of bass. The expression "bounce le gros" was born on stage--  back in 2004, the rapper Séba and I would use it during live shows to hype up the crowd. It's also a nicer way of saying "bounce your big ass". The expression is now pretty popular in Québec and I naturally named my Montréal DJ night after it when I started it at the Zoobizarre in 2005. I ended the night in June 2007 because I liked the idea of ending it at its peak. I was spinning global hip hop, ragga, grime, baltimore, crunk, dubstep, soca, etc.  It was a "bass and no attitude" party and everybody was welcome. Kode 9, TTC, The Bug, dj/rupture, DJ C, Matt Shadetek (from Team Shadetek) and many others played at Bounce le Gros. Now, even if the night is over, I still keep the same mentality when I'm DJing.

7. Are there any other artists that you are psyched about collaborating with or remixing? Mr. Slaughter and Bunji Garlin are two vocalists from Trinidad and Tobago that I'd really like to do tracks with.

8. Your music is filled with all type of genres, how do you go about creating a track without allowing it to become too overwhelming?
I just do music, as simple as it is. Making music is an action; for me it's not about waiting to have the deep inspiration and finding the perfect moment, it's only about doing it. Period. The selection for an eventual release comes after. Nobody always makes good music. But the challenge is to release what we consider our best--what's worth it.

9." M.I.A. might have the larger stage presence, but Ghislain Poirier has the better beats.", what's your reaction to this bold statement?
I bounce a lot on stage too.

10. Are there any DJs that you would want to tour with?
I would like to tour as much as possible with my live set (drummer + MC) with somebody like Dizzee Rascal or Roots Manuva.