11.01.18 in ambassadeurs
simon buret
What nourishes you in your profession, the source of your inspiration, the stories you tell in music?
First of all, there is life in general. What I go through is the basis of the process, creation is the expression of a feeling, a sensation, a dream; it's a Polaroid emotion, like freezing a moment that you would like to preserve, then stretching it like a material to make a song. Nature also inspires me enormously, I believe a lot in walks, physical movement leading to movement of the mind. A song is ultimately the writing of a landscape.
Who are the people or artists who constitute references for you?
Some people are foundations. I was raised on the poetry of Walt Whitman, his writings became my bible. There is also Tomas Tranströmer for his pen that is closest to the heart, as much as Don Blanding for his luminous writing and his relationship with the elements. Nina Simone, because she is resolutely connected to what seems to be her soul, as if her voice were sewn to her piano. In the same way, Bill Viola has this ability to highlight his inner line, to "tell", "film" his anxieties and his pleasures in a perfectly fluid way. A very strong feeling of life emerges in his works. Basquiat obviously: I have this fantasy of making songs in the same way that he painted his paintings, he managed to put his guts in and out while being extremely precise. Patty Smith also inspires me enormously because she has managed to remain, over the course of success and the years, a fully embodied body, to convey her message whether through her writing, her photos, her attitude, her singing. Everything is very consistent with the person she was at a very young age. I am convinced that what we are is engraved in stone when we are fifteen or sixteen years old, something immutable is then installed, then we decide to trace, force the features that make us, or we try to erase. Patty Smith has managed to remain intact, nothing is pretended about her, her sincerity is direct and fresh while she has become a monument. His concerts are masses for me. I would like to achieve this state of sharing, to embody an emotion to the point of disappearing by delivering it; an artist is only a vector, he only serves that purpose.
What compliment means the most to you?
I would say that the sincerity of the statement takes precedence over everything else, you should not try to be part of a movement, of a style to get into the flow. I would also like to be told that our music inspires the listener's ear to seek out another creation, a movement, a journey perhaps. It is the responsibility of art to make things happen inside others. Creation is a blank page, I said that for me building a song amounts to drawing a landscape, the voice is a river, the words the soil, the instruments add the heat, the cold, the light which carries, envelops the general shared feeling, etc. I have always associated images with music. I grew up and was surrounded by people who encouraged this, whether in the Fine Arts or in everyday life, I was often pushed to "find" my freedom, to accept non-conventionalities, to seek " interior journey. The result was often musical. I like the idea that the sensation expressed in music takes the listener on a quest.
The city that inspires you or resembles you? If it wasn't Paris.
Greece inspires me a lot at the moment, it also inspired a few tracks from the last album, "we cut the night". Something is calling me there more and more. I am fascinated by its architecture, its open tombs of memories and memories, visible to all. Greece is the cradle of democracy, of philosophical reflection in our current society. It's interesting to see that almost everything that makes us today came from this land. Athens is inspiring with its chaos at the confluence between its sea of buildings and the Aegean Sea, a creative chaos very exciting for my sensibilities, as New York was at one time. There is an atmosphere which gives the feeling of being at the end or at the birth of something, as evidenced by the Athenian youth who are both messy and so inspired. It's a city that I also love for its secret side, like a labyrinth reminiscent of Los Angeles perhaps, and a country which has a truly radical energy, both exploded in full light and at the same time surrounded by mystery.
First of all, there is life in general. What I go through is the basis of the process, creation is the expression of a feeling, a sensation, a dream; it's a Polaroid emotion, like freezing a moment that you would like to preserve, then stretching it like a material to make a song. Nature also inspires me enormously, I believe a lot in walks, physical movement leading to movement of the mind. A song is ultimately the writing of a landscape.
Who are the people or artists who constitute references for you?
Some people are foundations. I was raised on the poetry of Walt Whitman, his writings became my bible. There is also Tomas Tranströmer for his pen that is closest to the heart, as much as Don Blanding for his luminous writing and his relationship with the elements. Nina Simone, because she is resolutely connected to what seems to be her soul, as if her voice were sewn to her piano. In the same way, Bill Viola has this ability to highlight his inner line, to "tell", "film" his anxieties and his pleasures in a perfectly fluid way. A very strong feeling of life emerges in his works. Basquiat obviously: I have this fantasy of making songs in the same way that he painted his paintings, he managed to put his guts in and out while being extremely precise. Patty Smith also inspires me enormously because she has managed to remain, over the course of success and the years, a fully embodied body, to convey her message whether through her writing, her photos, her attitude, her singing. Everything is very consistent with the person she was at a very young age. I am convinced that what we are is engraved in stone when we are fifteen or sixteen years old, something immutable is then installed, then we decide to trace, force the features that make us, or we try to erase. Patty Smith has managed to remain intact, nothing is pretended about her, her sincerity is direct and fresh while she has become a monument. His concerts are masses for me. I would like to achieve this state of sharing, to embody an emotion to the point of disappearing by delivering it; an artist is only a vector, he only serves that purpose.
What compliment means the most to you?
I would say that the sincerity of the statement takes precedence over everything else, you should not try to be part of a movement, of a style to get into the flow. I would also like to be told that our music inspires the listener's ear to seek out another creation, a movement, a journey perhaps. It is the responsibility of art to make things happen inside others. Creation is a blank page, I said that for me building a song amounts to drawing a landscape, the voice is a river, the words the soil, the instruments add the heat, the cold, the light which carries, envelops the general shared feeling, etc. I have always associated images with music. I grew up and was surrounded by people who encouraged this, whether in the Fine Arts or in everyday life, I was often pushed to "find" my freedom, to accept non-conventionalities, to seek " interior journey. The result was often musical. I like the idea that the sensation expressed in music takes the listener on a quest.
The city that inspires you or resembles you? If it wasn't Paris.
Greece inspires me a lot at the moment, it also inspired a few tracks from the last album, "we cut the night". Something is calling me there more and more. I am fascinated by its architecture, its open tombs of memories and memories, visible to all. Greece is the cradle of democracy, of philosophical reflection in our current society. It's interesting to see that almost everything that makes us today came from this land. Athens is inspiring with its chaos at the confluence between its sea of buildings and the Aegean Sea, a creative chaos very exciting for my sensibilities, as New York was at one time. There is an atmosphere which gives the feeling of being at the end or at the birth of something, as evidenced by the Athenian youth who are both messy and so inspired. It's a city that I also love for its secret side, like a labyrinth reminiscent of Los Angeles perhaps, and a country which has a truly radical energy, both exploded in full light and at the same time surrounded by mystery.
“Some people are foundations. I was raised on the poetry of Walt Whitman, his writings became my bible. »
How would you define your way of living?
A phrase has always followed me: “Remember that you are free, that reality is foam, and that you will always have to take to the sea”, I read that one day on a wall in Montreal, This constitutes my path I believe. I want a great life. So I live in the extreme, extreme contemplation, extreme nature, I look for beauty everywhere, I want to find the beauty of moments, of the moment. Beauty is the fruit of a perception whose lines often move. I'm interested in so many things, so I try to be curious. To be inspired, you have to be particularly awake, change your decor, your readings... I am lucky to be surrounded by creative and intense people who also nourish me because they make sure not to live according to imposed codes , they don't do anything flatly. Be careful, looking for beauty does not mean looking for novelty at all costs! It is often in the past, in works made before the "internet" era that I manage to build my future, among the writings, paintings, photographs produced at a time when people had a different awareness of time, where life was perhaps going a little slower, far from the permanent flow. Even among the most famous. We generally only know the surface of an artist, the tip of his iceberg.
Your favorite themes?
No imposed theme but life impulses. I don't believe in happy or unhappy things but in what makes the heart beat, what makes us "feel" the world, whether it's humanity or nature.
Your reference music, your reference films?
The noise of the night, I find it very musical, full of silence and solitude, it allows me to travel, the noise of the world is very inspiring. La Grande Belleza by Sorrentino, for the power of its subject, this film gives the impression of holding a manual on human beings, everything is made available to the viewer. And then Where the wild things are by Spike Jonze, the freedom, the taste of absolute that emerges from it, for its extreme and so clear vision of childhood in which I really visualize the color of the days where everything is possible and grandiose. Childhood contains all of this, then we try to remember it, to let it vibrate somewhere in our adult lives. Finally, I will say Only lovers left alive by Jim Jarmusch, for his point, what remains of life, of love once we think we know all the codes? I found it fascinating.
Your favorite musical form?
I am in the purity. Olivier (Coursier, the other member of AaRON) is in the same process, we are both slipping into this search, “less is more”, more and more. My favorite form of writing is like this, I try to find the exact word to take the ear that will listen to it somewhere intimate, personal straight away. A word that could resonate on its own in the silence by the echo it causes in the listener.
Your biggest challenge faced or to be faced as an actor, as a singer?
Being understood is the biggest challenge, making oneself understood, making things readable. We still talk about blank pages at the start. You have to succeed in transcribing your own night in an enlightened way, and linking it to the other... Cocteau spoke of this very rightly by saying: “I trace the invisible”.
Your ritual in your job(s)?
When I play a character, for example, I make gestures that accompany the character. For Cocteau, which I am currently performing, it is a movement of the fingers, I systematically repeat it several times. For singing, it's a different vocal preparation, quite long, which I carry out in a precise order.
A phrase has always followed me: “Remember that you are free, that reality is foam, and that you will always have to take to the sea”, I read that one day on a wall in Montreal, This constitutes my path I believe. I want a great life. So I live in the extreme, extreme contemplation, extreme nature, I look for beauty everywhere, I want to find the beauty of moments, of the moment. Beauty is the fruit of a perception whose lines often move. I'm interested in so many things, so I try to be curious. To be inspired, you have to be particularly awake, change your decor, your readings... I am lucky to be surrounded by creative and intense people who also nourish me because they make sure not to live according to imposed codes , they don't do anything flatly. Be careful, looking for beauty does not mean looking for novelty at all costs! It is often in the past, in works made before the "internet" era that I manage to build my future, among the writings, paintings, photographs produced at a time when people had a different awareness of time, where life was perhaps going a little slower, far from the permanent flow. Even among the most famous. We generally only know the surface of an artist, the tip of his iceberg.
Your favorite themes?
No imposed theme but life impulses. I don't believe in happy or unhappy things but in what makes the heart beat, what makes us "feel" the world, whether it's humanity or nature.
Your reference music, your reference films?
The noise of the night, I find it very musical, full of silence and solitude, it allows me to travel, the noise of the world is very inspiring. La Grande Belleza by Sorrentino, for the power of its subject, this film gives the impression of holding a manual on human beings, everything is made available to the viewer. And then Where the wild things are by Spike Jonze, the freedom, the taste of absolute that emerges from it, for its extreme and so clear vision of childhood in which I really visualize the color of the days where everything is possible and grandiose. Childhood contains all of this, then we try to remember it, to let it vibrate somewhere in our adult lives. Finally, I will say Only lovers left alive by Jim Jarmusch, for his point, what remains of life, of love once we think we know all the codes? I found it fascinating.
Your favorite musical form?
I am in the purity. Olivier (Coursier, the other member of AaRON) is in the same process, we are both slipping into this search, “less is more”, more and more. My favorite form of writing is like this, I try to find the exact word to take the ear that will listen to it somewhere intimate, personal straight away. A word that could resonate on its own in the silence by the echo it causes in the listener.
Your biggest challenge faced or to be faced as an actor, as a singer?
Being understood is the biggest challenge, making oneself understood, making things readable. We still talk about blank pages at the start. You have to succeed in transcribing your own night in an enlightened way, and linking it to the other... Cocteau spoke of this very rightly by saying: “I trace the invisible”.
Your ritual in your job(s)?
When I play a character, for example, I make gestures that accompany the character. For Cocteau, which I am currently performing, it is a movement of the fingers, I systematically repeat it several times. For singing, it's a different vocal preparation, quite long, which I carry out in a precise order.
“I want a great life. So I live in the extreme, extreme contemplation, extreme nature, I look for beauty everywhere, I want to find the beauty of moments, of the moment. »
The music that annoys you?
The one that is not designed with sincerity but simply for success or even for money. The one that is done simply to prevent thinking. I hate pure entertainment, in my opinion it amounts to lobotomy. The expression “it’s nice to pass the time” annoys me. You should never waste time, you must live it.
You were leaving to become an illustrator, you eventually became a singer and actor, what other job would you have liked to do?
I would have loved to be a sculptor, I can see myself being fat and bald with a beard and dogs. More seriously, I find it crazy to be able to use your hands to create. Being able to materialize a thought through your hands and give it consistency with the material. I envy that, it's something that touches me all the more because I feel completely incapable of it.
A favorite place to usually find yourself?
In a Parisian café in the morning.
Your favorite object? How much does he weigh ?
A polar star is a 21g jewel that I wear all the time.
What has weight in your life?
Memories ?
Your LE GRAMME object(s), what is/are they? How do you use the doors?
I wear two rings, one on each little finger. The 3g and the 7g in 925 Silver.
If LE GRAMME were a song, a musical genre, what would it be?
Something very refined, Spiegel Im Spiegel by Arvo Pärt. This song only has three notes, it has the fluidity LE GRAMME. It stands on its own, there is nothing to add around it. It is essential.
Photographer: Amit Israeli
Stylist: Elodie David-Touboul
The one that is not designed with sincerity but simply for success or even for money. The one that is done simply to prevent thinking. I hate pure entertainment, in my opinion it amounts to lobotomy. The expression “it’s nice to pass the time” annoys me. You should never waste time, you must live it.
You were leaving to become an illustrator, you eventually became a singer and actor, what other job would you have liked to do?
I would have loved to be a sculptor, I can see myself being fat and bald with a beard and dogs. More seriously, I find it crazy to be able to use your hands to create. Being able to materialize a thought through your hands and give it consistency with the material. I envy that, it's something that touches me all the more because I feel completely incapable of it.
A favorite place to usually find yourself?
In a Parisian café in the morning.
Your favorite object? How much does he weigh ?
A polar star is a 21g jewel that I wear all the time.
What has weight in your life?
Memories ?
Your LE GRAMME object(s), what is/are they? How do you use the doors?
I wear two rings, one on each little finger. The 3g and the 7g in 925 Silver.
If LE GRAMME were a song, a musical genre, what would it be?
Something very refined, Spiegel Im Spiegel by Arvo Pärt. This song only has three notes, it has the fluidity LE GRAMME. It stands on its own, there is nothing to add around it. It is essential.
Photographer: Amit Israeli
Stylist: Elodie David-Touboul
“The expression “it’s nice to pass the time” annoys me. You should never waste time, you must live it. »
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ring_9g_silver-925_polished_smooth_ruban;bracelet_15g_silver-925_polished_smooth_ruban;bracelet_9g_yellow-gold-750_polished_smooth_jonc;ring_9g_silver-925_polished_smooth_ruban
