A strange confusion grips the listener at the end of Le Phénix, il était plusieurs fois, Dramatik’s third solo album, which concludes with a Gospel-rap number unequivocally titled “Miracle.” The ecstatic MC proclaims, “Le bonheur est si simple, le soleil est si synchro/ J’étais triste ce matin, mais les rayons étaient comme une boussole/ Ouvre les stores et ouvre la porte, nous voulons porter la nouvelle aux gens” (“Happiness is so simple, the sun is in synch / I was sad this morning, its rays were like a compass / Open the curtains and open the door, we want to take the Good News to the people”).

Dramatik

Photo: Drowster

Yet many of the 11 previous tracks, for which he;s written all the music, offer a bleak portrait of our era’s woes: domestic violence and toxic masculinity (“Enuff”); having the drama of one’s origins running through one’s veins (“Ghetto génétik [tome 5]”); broken youth (“Épicentre jeunesse”); and the alienation of the 9-to-5 life (“Ô ciel”). Has the man proclaiming a miracle actually listened to the rest of his album?

“I stutter when I speak, and I don’t when I rap. Don’t you think that’s a miracle?,” Dramatik shoots back, loquacious as ever – despite his speech impediment, which indeed is miraculously cured the moment a beat comes out of the speakers and he grabs a mic.

“The fact that the neighbourhood is really disgusting doesn’t mean I can’t say the rose is truly beautiful,” he adds. He explains that his profession of faith towards life might seem contradictory, but is, in fact, proof of the realistic optimism he’s chosen to embrace. “I intentionally included a moment of silence before “Miracle,” because miracles never occur when you think they will. “Miracle” is also to express that I am a being of light, that we all are beings of light, and that we need to let it shine through!”

Interviewing Dramatik is a master class on the art of dropping rhymes over a looped beat. The virtuoso rapper’s flow is versatile, but the 42-year-old Montréaler nevertheless restrains himself on Le Phénix, il était plusieurs fois. As he puts it, “three Ferrero Rocher chocolates is better than 33 of them. You take you time and savour them. Endless rhyme patterns only end up exhausting the listener.”

“To age gracefully, you need to constantly sharpen your blade, and that happens in your brain.”

He does whip out his verbal machine gun on a few rare occasions, notably on “Let It Go,” the mesmerizing confession of an anxiety-ridden person. “My super-fast flow at the end of that song is to express how I’m fighting to stay sane. If I had sped like that for four bars, it wouldn’t have been cool. I used to do that, I wanted to flex, but when you get to the half-point of your life, you calm down.”

Despite the fact that it’s a dark social chronicle, Le Phénix, il était plusieurs fois remains, at its core, a call for universal love. Dramatik’s partner La Dame and their eleven-year-old daughter Ruby both have cameos on this atypical family album.

“We should’ve dressed in red and posed in front of a fireplace with imp hats,” jokes the father of four. Dramatik joins another dad, Dubmatique’s Disoul, on “Debout” – a serene ode to the soothing passage of time. “We like to come across as dangerous in rap, but we don’t say enough how much children change us and make us more stable, says Dramatik. “You even eat better when you have kids!”

It becomes clear that the man who, in “Enuff,” perpetuates the violence of which he was a victim during his childhood, is purely fictitious. “Yes, it’s a character, but I used some of what I went through, and I breathed through his nose with my own air,” says Dramatik. “When I was a kid, other kids were scared of me because I would hit them and bully them. I wasn’t well, I wanted to off-load. I went to school filled with rage. Then one day, a principal told me, ‘Bruno, what you are looking for is love.’ Right away, I pushed back: ‘Fuck love, man!’ But he was right.”

On Nov. 3, 1999, during an interview with his former group Muzion for the weekly paper Voir, the journalist wrote that it was a shame radio stations still didn’t play “La Vi Ti Neg,” one of the most powerful hymns of Québec solidarity ever recorded. “An utterly ridiculous situation, given the song’s obvious potential for popularity,” he said back then. “Frankly, disheartening… The worst of it is, I’m convinced the kids of the guys who decided what’s going to play on the radio do listen to Muzion.”

Twenty years later, the children of those decision-makers have apparently not yet unseated their elders from the most popular FM stations, because Québec rap is only timidly celebrated by them.

“Radio wants to hear the joual accent (the Québecois Francophone accent),” the veteran rapper surmises. “They want to recognize themselves. I think it’s a thing having to do with protecting the Québécois heritage. Which is crazy, because I was born here, I am Québécois, I eat poutine, and I watched Chambres en ville [a very popular TV show for teens that ran from 1989 to 1996 on TVA].

Writing Tip: Feng Shui
“When the beat starts, I let myself go. It’s a kind of feng shui. I ride on the beat, and if I start losing my breath, it means something’s not right, there’s a lack of feng shui. When I lose my breath, it’s often because I use too many stylistic devices, and when that happens, there’s a real risk that the idea I want to express won’t come across clearly.”

Would he go as far as calling it racism? Dramatik smiles. “It’s not racism,” he says. “It’s just extreme faint-heartedness. But take notice: Blacks in TV ads have a joual accent. It’s like there’s a memo that says you can’t scare people away. We want our Blacks to not be too Black. Thankfully, radio no longer has a monopoly of influence, but there’s still a certain prestige attached to it.”

And what about the Muzion reunion on “Shadow,” one of the new album highlights? Is it the sign of a bona fide reunion? “It’s possible!” says Dramatik. “I lit the torch to make sure it wasn’t wet, and could still be lit. I also wanted to show that Muzion is still one of the sharpest bands on the mic.”

Clearly, to him, rap isn’t just for the young ones. “Hell no!,” he says. “But to age gracefully, you need to constantly sharpen your blade, and that happens in your brain. It’s like the old Chinese folks who do tai chi, and do the splits at 80: the trick is consistency and discipline. What people look for in rap is something extraordinary, something “wow.” Rap is like magic, you can’t always rely on your old tricks, and you need to be in top shape to come up with new ones.”



This article is the first in a series we’ll be bringing you, called “Interfacing,” about the innovative companies we’re working with here at SOCAN.  The author, Ryan Maule, oversees this work, focused on finding those companies and integrating them with our services, ensuring that SOCAN members can access the best tools the music tech industry has to offer.

About $2 billion. According to industry trade magazine Variety, that’s how much in unpaid royalties that creatives are missing out on. Do you ever wonder why so many royalties are going unpaid? The answer is as obvious as it is complex — payers don’t know who deserves to be paid. That’s right, sometimes royalties sit in a holding pattern, because contributors aren’t accurately notated within the song. SOCAN understands the pain that this causes, and we’re always trying to find ways to make submitting this information easier. That’s why we want to introduce you to a new partner of ours, Jammber.

Based out of Nashville and Chicago, Jammber is an innovative music tech company that has developed a suite of tools for every step of the songwriting process. Each tool is designed to collect all of the required data that you, and SOCAN, need in order to collect your royalties.

“Creatives care a lot about their credits and their pay, they just need better tools to manage their career. At Jammber, our mission is to ‘make way for music.’ This means working to clear the many obstacles creatives face in the music industry and empowering them to maximize their success,” says Marcus Cobb, CEO and Co-Founder of Jammber. “We spent years researching and learning about each step of the creative process, to understand how to ease pain-points for artists, songwriters and the industry, as a whole.”

The most common challenge that artists and songwriters shared with the company was that they weren’t getting credit, or timely payment for their work. Jammber tackled this problem head-on. Jammber Splits revolutionizes how you manage co-writes. Songwriters can now say goodbye to the hassle of paper songwriting split sheets, and the uncertainty of handshake deals.

Splits captures songwriting share splits in real time. You’re able to plan and add co-write sessions with just a couple clicks of a button. During your co-write, the app collects all the vital information from your co-writer(s), such as the date of the song creation, info about the publisher, and affiliation with any performing rights organization. Once all writers agree to their ownership percentages, you’ll be able to register your new song with SOCAN.

“Throughout the process of building Splits, we worked closely with songwriters around the world, investing millions, and making hundreds of iterations until they gave us their stamp of approval. Establishing ownership of a song at the point of creation is crucial,” says Cobb. We agree!

Having the power to capture your percentage of ownership in a song at the point of creation, and simplifying the collection of metadata — which is essential to earning royalties — is a game-changer for songwriters. The ability to have all the necessary metadata for a song means you’ll get faster and more accurate royalty payments. This means never missing out on a royalty check again!

Jammber has invited SOCAN writers to be a part of their BETA testing group. As a member of the BETA team, you’ll have full access to Splits before it’s released to the general public. To join the beta, visit http://splitsbeta.jammber.com.

“Being able to share the Splits app with SOCAN clients is an important moment for Jammber. We believe in your art, and want you to have tools to help grow your business,” says Cobb.

The ultimate mission for Jammber is to eliminate the obstacles creators face within the music industry. Splits is just the tip of the iceberg. Jammber has developed multiple other tools for creators that streamline the creative and administrative processes, from the conception of a song, to recording it, to overall project management.

Our goal at SOCAN is to make it easier for you, the creator, to bring your ideas into reality, and to ensure that you get paid for your work.  By working with companies like Jammber, we’re working to enable you to do more, and do it more quickly and easily. Stay tuned for even more down the road.

For more information about Jammber, visit www.Jammber.com, and visit the SOCAN Partner page in the secure portal to find out more about the other opportunities we have cooking.  If you have any other questions, feel free to contact me, Ryan Maule, at ryan.maule@socan.com.

 



Reid Jamieson, Carolyn MillThe first thing you notice when listening to his new album Me Daza is Reid Jamieson’s voice.

Like lead singer Thom Yorke back when Radiohead were writing conventional songs, or the late Jeff Buckley, or the current Jeremy Dutcher, Jamieson has one of those rich, resonant voices, with a high-end range that never ceases to astonish.

Then there’s the artistic voice of the songs, co-written with his life and musical partner Carolyn Victoria Mill. Those include thoughtful meditations on human self-doubt (“Enough”),  and encroaching middle age (“Evergreen”), and portraits of the dogged resilience of spirit required to best meet those challenges (“Better Man”). There are conscious views of the way humanity continues to re-visit the same problems (“Circles”), and how we so often fall in line, especially on social media (“Dominoes”). And there’s a gentle but moving pro-choice song (“She”).

Recorded with producer Kieran Kennedy at a small seaside cabin in County Cork, Ireland, the album sounds plush and cinematic, centred around Jamieson’s nylon-string acoustic guitar. The words of the album title, “me daza,” are local slang for “most excellent,” though the direct translation is, “I’m dying.” In the face of inevitable mortality, this is an album made by adults, for adults, that stands up to it.

It was recorded quickly, in just a week. “The first morning, I figure I’m just testing the sound of the guitar,” says Jamieson. “ ‘I’ll just do a run-through of the songs, just to test it out.’ No, those are the takes that are on the record… I realized that every time I do any little thing and the tape is rolling, I’ve got to mean it.”

“Most of the week was spent at the pub!” says Mill, still incredulous. “Work was furious between 10 a.m. and 2:00 p.m. Giv’er, giv’er, giv’er. Then… pub. The first day, we’re a couple of hours into it, and Kieran’s, like, ‘So… to the pub?’ Me and Reid were, like, ‘Are you serious?!’ Then you realize, hey, this is Ireland. It’s part of the process.”

And how does the couple’s own songwriting process work?  “I think that it’s moved in the direction now where we’re trying to use our strengths as best we can,” says Jamieson. “I always seem to have music there to use. But I don’t always have subject matter, or something I’m interested in saying.” Which is where Mill comes in.

Take “Evergreen,” for example, a song about how a couple’s love can grow, even beyond middle age. “I was getting ready to turn 50, and I thought, ‘There’s love songs for the maiden, there’s love songs for the mother, but where are the love songs for the crone?’” says Mill. “Reid reassures me all the time, and some of the things he says are so beautiful. I wanted to capture what he says when I worry, when I’m insecure… when I feel the cloak of invisibility that a woman unwillingly dons at a certain age. I realized that I’m not the only woman out here that needs to hear it.”

Songwriting between the (Spread)sheets
Jamieson and Mill often co-write their songs not via voice memos, texts, e-mail, Pro Tools, or even using pen on paper; rather, in a kind of update of cut-up literary technique, they use Microsoft Excel spreadsheets. “Line by line and column by column,” says Mill. “You can have a column for the chords, a column for the words, and a column for alternate words. You can boldface really good ones, and collect words that don’t work from one song and apply them to another.”

“I find it a huge compliment that Carolyn’s able to write lyrics that, by the time I’ve run through the song a few times, feel like I wrote them,” says Jamieson. To which Mill instantly replies, “But he did! He’s said them to me; I’m just translating them into a song.”

In “Better Man,” that translation looks at how challenging it can be for men to become evolved human beings in the current social climate, “Enough” offers words of encouragement in the face of that sort of self-doubt. “I wish everybody could just have that song ‘Enough’ replace the tape that plays in our minds every day,” says Mill. “The one that says, ‘OMG, you’re fat. Look at that old face on you. You really screwed that up. You probably shouldn’t have said that.’”

While that’s a hard-to-reach goal, Jamieson and Mill have achieved another, more modest one – the ability to combine touring with a vacation, in what they call “tourcation.” “Instead of playing night after night in different places, we’ll book three days in a place we want to go,” Mill explains. “We’ll get there one day early, get to know some people, and have a good time. We’ll play a show the second night, then hang out with people we met at the show on the third day. We don’t make any money, but we don’t lose any money, either. And we have a really good time, and end up with incredibly enriching experiences.” Which, of course, only fuels their artistic voice even more.

Not a bad way to go, all, told.