Singer Owlle releases title Sounds Familiar -
sony
Owlle releases his new track
Sounds Familiar
, announcing his next album.
The title
Sounds Familiar
is on the soundtrack of
Skam France
season 7.
Owlle worked on the musical supervision of
Skam France
season 7 and recounts his experience in collaboration with Shirley Monsarrat (director) and Tianes Montasser (editor).
Owlle is back in the spotlight today with the release of his new title
Sounds Familiar
, faithful to his haunting dream pop universe.
Ritournelle part of 3 notes on a melancholy summer day, the artist had however already revealed it during episode 5 of season 7 of
Skam France
.
Owlle provided musical supervision for the season, working closely with director Shirley Monsarrat and editor Tianes Montasser.
The universe of the artist seduced the
Skam France team
who wanted to work with her.
Owlle confides in
20 Minutes
on his experience in the series and the history of the title
Sounds Familiar
.
How did you end up in the filming crew of
Skam France
season 7?
I met Shirley, the director, through Tianes, the editor of
Skam
.
They asked me if the idea of supervising and composing music for
Skam
interested me.
It turns out that I didn't know
Skam
before.
I discovered and completely fell into it.
So I told them that obviously I really wanted to do it.
You talk about “an unfailing bond that we can have with certain people” to present
Sounds Familiar
.
In
Skam
, the song goes in a scene where Tiffany is having a bath with her baby… Did you compose this track for this scene?
It really started in his composition of three notes that were spinning… I was in a slightly melancholy state.
It's a title that tells about things that are very personal to me.
And it turns out that Shirley Monsarrat and Tianes Montasser had listened to it in preview.
I had made a connection with the new titles.
Among them were
Mirage
and
Sounds Familiar
.
For Shirley and Tianes it was obvious.
It stuck with particular scenes.
What's the story behind this song?
It's tricky because, for me, there isn't a particular story.
It fits a lot of stories in my life.
I don't want to define a specific thing because it's important that everyone takes it with them, this song.
I wanted it to be a sweet and heartwarming song.
Melancholy but still joyful.
Your universe had been sensed as in adequacy with the spirit of season 7 of
Skam
by the production team.
It stuck easily enough?
The starting point is that Shirley Monsarrat chooses me to make this music.
She had the will to establish a universe.
It was also to contrast with what had been done so far on
Skam
.
The fact of making tailor-made music made it possible to identify the universe even more and to make a new proposal, to provoke something by accompanying the scenes with more music and intensity.
Was it difficult for you to build the musical universe, very embodied and personal, of the millennials of the series?
In fact, I would have loved as a teenager - because now I'm not in that age range - to have this kind of show.
I find myself in their emotions, in their stories sometimes.
It's an unfiltered series and that's what I really like.
It's true that in my music, I think I like to tell about these emotions.
You have fully integrated the production team by being appointed to music supervision.
How did that happen ?
The musical supervision was really done with six hands, Shirley, Tianes and me.
We had little playlists that we shared.
At first, I did not see the images straight away.
I had a plan of action with the important sequences, the ones where Shirley really wanted music.
And then after the pictures arrived.
Sometimes it worked very well, sometimes we had to rework.
Sometimes it was musical research or composition.
On the composition, it was my inspiration that [allowed] me to propose things.
On the titles that were essential, I really wanted it not to be obvious, to look for people around me, whom I rub shoulders with in music and who are part of my universe so that everything is coherent.
I think it's good to look a little further and highlight a music scene that this generation may not know.
This type of work was new to you.
Did you have any difficulties?
To be honest, it was pretty smooth from the start.
Before starting I was still afraid of not being able to deliver beautiful things, of not being up to the series or expectations.
There are a few scenes that may have been more complicated than others.
But I feel like the prep work was done so well that I didn't feel unsafe or struggling at one point.
I just had fun and I had the impression that it was a real gift that I was given to accompany this series.
It would please me very much to continue on this kind of proposition because it takes me out of my comfort zone.
And […] there is less pressure because ultimately I am not the center of interest.
The interest is the series, the image.
And I love it, really.
I loved doing it.
You are releasing an album soon.
Was he influenced by
Skam
or were the album and the series two separate projects?
No, I did not compartmentalize.
Even if I wanted to, it was difficult as I did both at the same time.
I think
Skam
fed some ideas.
There was the birth of song starts thanks to
Skam
.
It clearly fed me, and brought a lot of things.
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