New album ‘Nova Cardinale’ stimulates the senses — Flaunt Magazine
In your letter of intent for the Nova Cardinale album, you talk about the scale going from “pure speech” to “pure music”. How has this concept shaped your understanding of music, especially instrumental music?
I realized that instrumental music was in 90% of cases at the service of words: in songs of course, but also in films, in theaters, in advertisements. We can even consider that the music that we put in the background, in the evening, is used to accompany our discussions. I became aware of the rarity of music without words. And that’s what inspired me to make this album.
You called the album both a “sensitive songwriting job” and a “true technical job”, saying it’s impossible to separate the two. What do you consider more difficult – being emotionally vulnerable or being technically precise?
It is difficult to know where the sensitivity comes from. Why are we sensitive to this or that? I do not know. But technical skills are more concrete. We understand, we learn, we improve.
I also believe that technique feeds sensitivity. The more technically precise we are, the more sensitive and fine work we can do.
What’s the biggest difference between the work you’ve done previously and this upcoming album?
This is my third album under the Superpoze name. The first two were more electronic and recorded on my computer, and this one uses more acoustic instruments, and was recorded in the studio. But they still share a harmonic color, and a taste for adventure.
Does creating under a more anonymous/ambiguous name like Superpoze allow you to be more daring in your work?
It’s a pseudonym I chose when I was 16 or 17 and I’ve kept it over the years. What I like about the idea of a pseudonym is that it allows for mutation: Superpoze can become a group, an ensemble.
Do you have any particular moments during the process of creating Nova Cardinale that hold you back?
The recording of the choir on the title “Geneva”. It was a very happy day, with all my friends singing this melody in unison. And the week spent at the Motorbass studio in Paris, with all the great synthesizers and machines there.
You worked with Marc De Pierrefeu for a series of videos to accompany the album, can you tell us more about this collaboration?
Marc de Pierrefeu makes the eras communicate with each other. He juxtaposes old paintings and excerpts from contemporary films. It makes the centuries interact. I feel like I did that on the album by invoking vintage flutes, violas da gamba, romantic melodies as well as modern synthesizers, drum machines and production effects. This is the key to our collaboration!
If you had to describe Nova Cardinale in one word, what would it be?
An open world.