Q&A with Thincœur
What do you call an artist who is somewhat of a crazed cook that throws almost everything but the kitchen sink into his dishes? Well, of course, in this case, it would be, into his art. And yet somehow manages to make it work by creating both an audible and visually pleasant experience. I know, you're thinking, "alright, who is this crazed cook you're talking about!?" Well, none other than Thincœur, who currently resides in Paris, France.
Oh yes, the city of love, Paris, is home to lovers and creatives. Like many cities, you're bound to find artists from all walks of life who express themselves through various outlets. Thincœur is no different as his creativity runs wild as a product of his multiple travels worldwide and in the spiritual realm. His EP, 'close your eyes', reflects the artist's inner adventure to discover new parts of himself and, consequentially, peace and balance. The artist and producer spoke to IndieWavves about his latest EP, why he isn't too keen on singles, not conforming to one genre, and so much more. Including what we can expect from him in this new year.
IndieWavves: Your latest EP, 'close your eyes' (released in October 2020), is a project I would recommend not to be heard on shuffle as it tells a story from beginning to end. Can you tell us a bit more about that story and what inspired it?
Thincœur: Yes, exactly! The project tells the story of incarnating in a new body. Each song is a step in the process of understanding the person that you're born to be. As the opening is an invitation to set your conscience on a deeper level, the other tracks explore the comprehension of destiny, the candidness of love, the fury of an injured ego until finding a balance within yourself. My own introspections mostly inspired me. As my artistry sharpens and I grow into an adult, I get to know myself differently. I wanted to sum it all up in the EP.
IW: You seem to be a very visual person. From the artwork to the music videos, what comes first to you when starting a project?
T: I think visuals are an essential part of the music universe. Even if we shouldn't, we all judge books by their covers. So, as a ''book writer'', I have to make sure the cover is powerful! However, I always start with the music and the overall concept. I then work with a team – the NEUF Artist Lab which I'm also a part of – to best represent the emotions and topics of the music visually.
IW: We enjoyed the music video for the song "Luna" as it is set in our city of New York. Why NYC, and how involved were you in the making of the video?
T: Glad you like it. We did our best not to make it too touristy, haha! NYC is a city I know quite well, from the summers that I spent here as a teenager, staying in the East Village at my now deceased Godfather's. I always felt connected to this place even before I first came and still feel that way today. "Luna" is a tale from the universe. I'm not singing in this one, and the demo was initially written by a friend of mine whom I used to make music with and lived in New York with. Given the omnipresent melancholy of the track, it had to take place in my melancholic place. So, with my dear friend and director Randolph Lungela, who also had the dream of shooting in NY, we took our flights and made it happen. I like to give space to people I work with visually. I want my project to be an opportunity for them to express their vision and technique. I usually just tell the song's intentions and let them interpret it their way, then give inputs in the making.
IW: You've said that you consider projects to be more meaningful than singles. Where would you say that stems from for you?
T: Well, I was a kid at a time where physical albums were still relevant! It must have stayed with me in my perception of singles and albums. Listening to a project is an adventure. It tells a long story, brings up a concept... It's a milestone to an era. I feel like singles are just content to sustain the focus of the audience. It might be useful and make many people happy when released, but then five years later, people barely listen to them (if they were not inserted into a project, ofc).
IW: You speak French and English. How have you found that being bilingual helps you express yourself within your music?
T: That's a really good question! I'm also learning Japanese and have some German notions, but I'm not as fluent as I speak English. I can't give a clear answer because I guess it's more of a subconscious behavior. I hear and look at the language differently, and I will probably associate different words than a native speaker. Also, French can be very metaphorical and indirect. We don't like to say things in a raw and straightforward way. We rather slither our ideas through implied images, and I'm pretty much like that when I write my lyrics.
IW: You are very involved in all aspects of your music production. Can you talk to us about that process and what you've learned since first starting your journey in music and as a producer?
T: That journey as a producer using a DAW started when I was 13, and I was already trying to compose music the earliest I can remember. I learn better as a self-taught person. My process is in constant evolution because I like to experiment. These days, it's mostly starting production when I feel inspired; as soon as it takes shape, I'll freestyle some toplines with inspired words even if they don't really make sense; write and lay the lyrics; add touches to the production; give it some rest, come back on it weeks later (sometimes even years lol); re-record the vocals; finish the song, the mix and then master it. I think what taught me the most, though, is producing for other artists. There are challenges because you have to get their vision and shape it the best way possible. It takes you out of your comfort zone!
IW: Two EP tracks collaborate with other artists—"Vague" featuring MEGARARE and "Luna" featuring Lukass Edgars. How have you found collaborating with others helpful from sticking to one genre when making music?
T: Having features on a project is sooooooo important! First off, it brings balance to the overall production. Having only one vocal texture gets boring at some point! Secondly, it's giving a platform to another artist, so it's not just my vision. I feel like the more collaborative a project is, the more it speaks to different people. Even in the tracks without features, I ask for feedback around me. I imply other musicians for drums or guitar or even adlibs! You mentioned ''sticking to one genre,'' and that's exactly what I'm not trying to do. I try to sharpen a style, a signature, but freeing my music from genre boundaries and norms.
IW: What can we expect from you in the future? Any musical goals etc.?
T: The previous question was a perfect introduction to this one. I want to work on my next project with a big team of artists and creatives. I gave the best of my present self on this project and had glimpses of what collabs can bring, but I imagine how meaningful a project would be when many well-picked artists, each giving the best of her/his craft, gather their strength into it. I haven't got any date in mind yet. I want to take my time. Meanwhile, I produced projects for other artists that will see the light this year, and I'll keep experimenting with singles.
Written by Piera Lolandes