Tell us about the creation and development of your publishing company.
Éditions Dakini was born at the same time as Productions EM, the management company and label it is part of. That was in 2001, and it was obvious from the start that our publishing arm could not flourish without some form of control in all related areas.

I started out as a producer in a small town in the South of France where I programmed no less than the jazz artist Tony Pagano on the first night. Later on, my taste for music was definitely confirmed by exposure to outstanding artists such as Véronique Sanson, William Sheller and Stephan Eicher as part of special World Music Day presentations of the Taratata music show on French television. In 1997, I moved here to Quebec – I must admit that, a little earlier, you had sent me one of your best representatives, Gilles Vigneault, who was staying at a hotel in the South of France where I was working and told me all about Quebec.

In 2002, with the release of IMA’s first album, our publishing activities started expanding thanks to Frédérick Baron’s contributions as a lyricist here (for Mario Pelchat, Marie-Élaine Thibert, Bruno Pelletier, Renée Martel, etc.), but also in Europe. In parallel, Éditions Dakini developed new songwriting collaborations such as the writing partnership between Catherine Major here and Marie-Jo Zarb in France.

Then came new singer-songwriter discoveries like that of Laurence Hélie, in 2008, which yielded a debut album, an ADISQ Award and two SOCAN Awards. In the fall of 2012, I received my first SOCAN award in the 10 most performed Francophone pop songs of 2011 category for a song co-written by Frédérick Baron and Céline Dion and performed by Marc Dupré. Éditions Dakini are now expanding internationally with new singings to be expected soon.

In your opinion, what have been the most dramatic changes in music publishing in the past five years?
Needless to say, digital broadcasting and distribution have turned our work habits upside down in the past five years. Some countries have completely done away with traditional physical supports. On the plus side, this helps us reduce some costs, increase the number of promotion platforms and, in the end, discover more new artists. On the minus side, we still have a long way to go before fair management of the varied rights for the use of musical works on all of these platforms can be achieved.

What are your short- and medium-term plans for your publishing company and the authors you represent? Are you in a new artist signing mode, for instance?
Éditions Dakini is currently busy with the promotion of Frédérick Baron’s Humeurs Variables album while preparing for the release of Laurence Hélie’s next album, à présent, le passé. We are also dealing with the administrative and editorial follow-up of dozens of works written by Frédérick for other artists whose upcoming albums are scheduled for a 2013 or 2014 release. Éditions Dakini also just signed a very promising artist, Tina-Ève Provost, whose first EP is going to come out in the fall of 2013. Plus we recently signed international agreements. As for new artists, Éditions Dakini’s is constantly kept to the ground.

How about your repertoire? How do you grow and develop it locally and internationally?
Éditions Dakini represents two groups of works – those of our own songwriters that are performed by other artists, and those that are self-performed. We value good administrative and editorial management and invest heavily in the distribution and promotion of our singer-songwriters’ works. Internationally, Éditions Dakini has just signed sub-publishing agreements with France, Luxembourg, Belgium, Switzerland, Lebanon, etc. – as well as with South Korea for Laurence Hélie and Frédérick Baron.

As a music publisher, are you also a member of other organizations or advocacy groups?
As a music publisher actively involved in the creative and promotional process, I am happy to leave the representational aspects of the business to elected officials and the collectives and associations I am a member of. These are the defenders of my rights, and they have my full confidence.

What does the future of music publishing look like in regards to current technological changes?
Being an optimist, I dare hope that our governments will rapidly adapt to the digital reality and understand our creators’ financial plight. They should also recognize that culture is not a luxury, but a necessity. Without it, countries gradually lose their identities and become unable to stand out and shine internationally.


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Seldom has such unanimous praise been lavished by the public, the media and the music industry on a group’s début album. All it took the Gaspé duo of Stéphanie and Mélanie Boulay to become the sensation of the Quebec music scene in the first half of 2013 was a recording titled Le poids des confettis (The Weight of Confetti), a 13-song album, mostly of their own composition.

Some might call this instant success, but it didn’t quite happen that way for the young sisters, if you factor in some 10 years of trial and error, and considerable touring experience as backup singers for major Quebec artists. Les Soeurs Boulay needed that exposure to hone their distinctive sound and develop a sparse writing style that goes straight to the heart.

Mélanie: “We started singing when we were little girls. We both sang in the school choir and sometimes performed duos at the end of the school year. Later, we went our separate ways, but both of us studied music. Stéphanie sang on tour for Kevin Parent after her graduation in Montreal. I was already writing songs on my own, and Steph too. It was really hard – nothing sounded right. We had yet to find our sound. The Soeurs Boulay project was born sort of accidentally a couple of years ago. We recorded a Simon & Garfunkel song, “The Boxer,” and posted the video online. Some of our friends told us it was great stuff, yet it was just this thing recorded on Steph’s computer. The sound was really poor, but people wanted to hear more!”

Stéphanie: “So we decided to put a show together! One thing was for sure – we did not want to sing covers. Instead, we took some of Mélanie’s songs and some of my own and worked on our vocal harmonies. Our repertoire of original songs had reached a total of about ten songs by the time we took part in the Francouvertes festival last year. The next thing was to set some time aside for us to write during the tour that followed. It was intense, but we were eager to ride the wave. We felt the wind was on our side. For once in our lives, everything was nice and easy! People offered to help us find venues – how could we let the opportunity go by?”

Paroles & Musique: Much has been made of your professional experiences with major stars like Michel Rivard and Kevin Parent. What did that bring you?

Mélanie: “Mostly a close look at the music industry. Watching those people with years of experience continue to give their all to their music and their concerts was an inspiration to us – we could see that they were in this business for the right reasons. Sometimes when it gets too involved and we’re tired, thinking about this helps us put things back in perspective. We’re so lucky to be able to make music!”

Stéphanie: “But these experiences also left traces musically. As backup singers, we had to come up with new harmonies almost on a weekly basis, which was great training for us. We sang for Dany Placard, Chantal Archambault, Alex Nevskyall this repertoire was new to us, and now it’s part of our musical background somehow. Today we try to refine our vocal harmonies so that they are not always a third above and below the lead vocal melody – we’re introducing more unison singing right now. One thing you learn from working with other artists is to how to listen and know your place. While they are singing, you need to pay attention to rests, so you can catch the ball and throw it back. We do the same thing with our own music now – it’s airy, it’s got some breathing space. It doesn’t have to be crowded all the time.”

P&M: You perform two songs penned by Stéphane Lafleur of Avec pas d’casque. How did this come about? Why do these songs suit you? Performing third-party material is a double-edged sword, since it may invite comparisons.

Mélanie: “We really wanted a Lafleur song, so we approached him. He turned us down initially because he was too busy, but he called us back after a couple of weeks to see if he could learn more about us so he could feel more comfortable writing a song for us. We confided in him for two solid hours, as if he was someone we’d known for 10 years! Finally, he went, “OK. Let’s write a song.” He put words in our mouths that we would not normally have had the nerve to use in a song addressed to a guy, like ‘Take off your clothes!’”

Stéphanie: “It’s like he helped us take our art further because what we’d planned to do on this album was to stop censoring ourselves and be as real as we could possibly be – vulnerable and strong at the same time. Our other new songs were all about assertiveness and the quest for personal identity, and we had felt that Lafleur could provide us with words that we would not have the guts to write, but wouldn’t mind singing. For us, there was no shame in having someone else write something for us because, although we’re keen on making it as singer-songwriters, what we really, really enjoy doing is perform lyrics we love and can identify with.”

This summer, Les Soeurs Boulay performed as part of the Montreal FrancoFolies festival as well as in the concert presented by this year’s finalists in the Francophone version of the SOCAN Songwriting Prize before the opening of the festival on June 12 at L’Astral. In July, they had dates in France and Belgium, including an appearance at the Francofolies de Spa. In the fall, it will be Quebec’s turn – and the duo has bookings until 2015! That’s what you call entering people’s hearts through the front door.


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After four albums, the Algerian born singer Lynda Thalie, who settled in Quebec at the age of 16, finally perfected the mix of Middle Eastern sounds and socially conscious lyrics she was striving for, and she knows why: she did her homework. “It’s the time I spent getting in touch with my cultural roots on my first three albums – Le Sablier (The Hourglass), the self-titled album and La Rose des sables (Gypsum Flower) – that provided me with the confidence I needed to write Nomadia,” the 34-year-old artist explains.

Having learned piano scales, and taken part in school competitions and showcases from an early age in her country of origin, Thalie felt right at home in the student musical productions at her new Quebec high school. “It was more or less love at first sight,” she recalls. “When I visited Cégep Ahuntsic at one point in Montreal, there was a show being presented in the central square, and I immediately felt that this was where I was going to be some day. Later on, leaving the stage of the Cégeps en Spectacle competition where I had been a contestant, I knew I wanted to do this for the rest of my life.”

Thalie then began writing and composing, winning the 2000 Ma Première Place des Arts competition in the performer category and signing a record deal with GSI Musique, a company “that was looking after such prominent singer-songwriters as Jean-Pierre Ferland, Gilles Vigneault and Daniel Boucher,” she recalls with obvious gratitude for that promising introduction to the Quebec music world.

“The label hooked me up with some creators from whom I would increasingly learn the profession. I spent a year and a half with Nicolas Maranda from 2001, for instance, laboriously crafting my first album. It was wonderful to have this opportunity to get used to the daily routine in the studio. Since then, I ended up singing with people like Marie Denise Pelletier, Luc De Larochellières and Michel Rivard! All that on-the-spot training got me involved early on with the song-creating process, and provided me with the professional tools I needed to trust myself.”

A straight talker, Thalie has criticized radio broadcasters in the past for what she called their conservative and close-minded attitude towards sounds that they deemed “too different.” With today’s runaway radio success of “Dance Your Pain Away (La tête haute),” the single from her Nomadia album, however, things seem to have turned around somehow. So, who changed? Was it the artists or music programmers?

“Actually, I think it was both,” Thalie offers candidly. “Since I moved to Quebec, I really went out of my way to explain my music to people and have them accept it. I met my audience halfway, so to speak, and they’re the ones who made it happen through their support and word-of-mouth recommendations. But radio stations did their part, too. When you see what’s happening in the world with people like Beyoncé, Justin Timberlake, Shakira and other world music-sounding artists… When Sting came up with ‘Desert Rose,’ featuring Cheb Mami, I was ecstatic. I realized that if we were unable to get results with our efforts within Quebec, then change would come from without. That’s exactly what’s happened, and radio stations have now yielded to the world trend.”

Back to the topic of songwriting, Thalie admits that she learned how to force inspiration after giving up fighting the blank page syndrome. “If it happens again now, I simply concentrate on filling up my mind with images and phrases and things that I pick out of thin air or on the airwaves… I sort of grab them and file them away in my mind’s drawers. When it’s time to write, I do like Ferland did – I force inspiration. I sit down and make a mental appointment with it, then the floodgates open up. I don’t know where it all comes from. All you have to do is grab it.”

Occasionally, as she did before with Yann Perreau, Nicolas Maranda, Carlos Placeres and Nomadia producer Louis Côté, Thalie prefers group creation to solo inspiration. “I could have written the whole album by myself,“ she says, “but something very special happens when two artists decide to co-operate with their creative guards down – it’s like some golden umbilical cord growing and helping two worlds produce something that could never have been generated singlehandedly. Creating something new together with someone else is both wonderful and fulfilling.”

Increasingly active in the French-speaking world, Thalie understands the importance of expanding her market reach. And while competition is tougher in Europe for world music, she still manages to get noticed thanks to her Quebec roots.

“What’s fabulous is that wherever I am, people find me different,” she says. “When I’m performing in Quebec, this is a foregone conclusion, but I experience the same reaction everywhere, as if I people thought I arrived to their country with a trunk full of maple syrup! So wherever I go, I help people travel in their own minds. How fabulous is that?”


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