Interview with Breton guitarist Soig Siberil
Calling Soig Siberil a "Breton guitarist" is accurate considering the music scene he's been inspired by since he moved to Brittany at age 23 and began playing the guitar. However, Soig's father is originally from Morocco, and it's perhaps no coincidence that this brilliant guitarist is always seeking new artistic partnerships, especially in the Mediterranean area, such as with Portuguese fado singer Bevinda. We'll discuss this with him in the interview he kindly granted us. But we'll also try to retrace some of the milestones in his long career, starting with his encounter with Irish guitarist Michael O'Donnell, who was instrumental in developing the "open chord" technique that Soig brought to Breton music (see the article published in issue 1 of this same magazine). These were the years of his first artistic engagement with the group SKED, which paved the way for the formation of GWERZ, a leading figure in the 1980s folk revival. Their first album was released in two versions: the 1986 Dastum vinyl version was remastered for CD in 1998. It's a magical and vibrant album, with original arrangements, perhaps even more so than their follow-up album, "Au delà," which brought them fame in Europe. Siberil's first solo album, "Digor" (1993), was born from a musical experience in Galicia, during which he developed increasingly personal arrangements. "Soig's guitar doesn't accompany our solitude. It erases it": these are the words with which Ronan Gorgiard introduced this eclectic musician's second artistic effort in 1996: the CD "Entre ardoise et granit." His guitar truly invades our inner landscapes and touches the deepest chords of our sensibilities. The acoustic sounds are enriched by Jamie Mac Menemy's bouzouki (with whom Siberil shared the Kornog adventure), Jacky Molard's tenor guitar, and Jacques Pellen's 12-string guitar. In 1999, "Gwenojenn" was released, a meeting of a harp, Alan Stivell's, and a guitar, masterfully played by Soig. The album's title thus comes from the song of the same name, a traditional arrangement by the two musicians. But overall, it must be said that, for this production, Soig Siberil found a great "partner" in his friend Alain Genty, who composed many of the arrangements as well as the recording and mixing. But it was at the beginning of the new century that his most innovative works appeared: "Gitar" in 2001 confirmed the guitarist's talent. The songs have a full, enveloping sound, thanks in part to collaborations with Felix Lalanne, Sylvaine Guichen, Patrice Marzin, and Jean-Luc Cortes. Soig's creative streak seems unstoppable, and the quality of his work now transcends the confines of traditional folk music, entering a dimension of "progressive" music that never forgets its roots. When the CD he made with Patrice Marzin and Jean-Charles Guichen was released in 2002, a question that seemed destined to remain unanswered came to mind: how do three guitarists get an audience moving to dance? This is the question we'll open this interview with. The guitar, as we know, is a solo instrument, normally used for dances only as a rhythmic accompaniment. In this case, however, we're dealing with three solo guitars that—here's the mystery—manage to create a truly irresistible "wall" of sound, an overwhelming wave. All the tracks on the CD begin with traditional patterns, but evolve toward the end, as if each musician were fully expressing their personalities and passion. Personally, the three complement each other perfectly, a testament to the journey they've traveled together over the past few years: Guichen's energetic riffs, Siberil's granite-like carvings, and Marzin's aerial vaults are like pieces of the same mosaic. The passion, however, is something you can feel on the surface when you listen, you can sense the entire atmosphere of Brittany: laridés, jigs, and gavottes are tinged with sepia, reflect the blue of the night, and shine with an ochre-colored dawn. One track in particular, "An Dro PSG," written by Soig and Jean Charles with Gaby Kerdoncuff, has the violent overtones of a hurricane and the brilliant silences of the subsequent clearing. All that remains is to listen and wait impatiently for the new work discussed in this interview: it will be a work that, as Siberil himself says, will have the colors of the Mediterranean.
A.R. This year you released a CD with Jean Charles Guichen and Patrice Marzin, also guitarists. As a trio, you played at traditional "fete-noz" festivals, but… how did you manage to get so many people dancing with just three guitars? How did the artistic partnership with Jean Charles and Patrice come about? Can you give a brief history of this new CD?
S:S: Basically, we split the "work"! Jean Charles and I approach the musical themes in the "kan ha diskan" style, and Patrice takes care of the arrangements and improvisation; we then adjust the guitar volumes according to the parts being played (solo or accompaniment). I've actually known Jean Charles since the day he was a young boy who came to attend one of my guitar workshops about sixteen years ago!!! We met again later when he was playing with Ar Re Yaouank. As for Patrice, I had entrusted him with the artistic production of my album "Gitar," and since he had already worked with Ar Re Yaouank... the trio was born naturally!
A.R. You are also part of the group Les Ours du Scorff, whose work consists of guiding children through the discovery of Breton music and better appreciating it. What do the children say when they listen to your pieces? How did they respond to your proposal?
S.S.: No, actually, the main work with children consists of telling them stories in song form, using the music of their region as a basis!
A.R.: You have followed very different musical paths that often lead far afield. I'm thinking, for example, of your collaboration with the fado singer Belinda, but also of your encounters with musicians who play exotic instruments (just to name a few: Bachir Molari's various derbouka, karkabou, bendir, and tar, or Karl Goriou's saxophones). Your music is a constant search for sonic encounters. In your opinion, is this definition accurate? How would you define the spirit of your musical exploration?
S.S.: My music isn't just a search for sonic encounters, but also for human encounters! In this regard, a week ago I was given carte blanche to perform at a cultural center in Brittany. For this concert, I had thought of finding a connection between Brittany and the Mediterranean, not for commercial reasons but for personal ones: this is because my father is originally from central Brittany and my mother was born in Casablanca and is therefore Moroccan! For this occasion, I wanted to use the music I play as a foundation and add a touch of southern flair! For this reason, we formed a quintet composed of Alain Genty on bass, Camel Zékri on oud, Karl Goriou on saxophone, Pierre Yves on various percussion instruments, and myself. The concert is titled "du côté de chez Soig!" ("On the side of Soig!"—a pun that Proust enthusiasts will understand). This first concert was recorded live by Coop Breizh, and the CD will be released next November. I'm very happy with this encounter, both human and musical, and now that this quintet exists in its entirety, we hope to perform everywhere. As I said, the foundation is my compositions and Breton music, but the "glue" is particularly evident in the addition of percussion and the arrival of Camel, who is familiar with both Gnawwa music with all its rhythmic complexities and improvisational music.
A.R.: What do you remember most about meeting Irish guitarist Michaël O'Donnell? How did you meet him? What did he give you artistically?
S.S.: I met Michael in Brittany, very close to my home, about 28 years ago! He introduced me to a new way of seeing and playing the guitar, in what's known as "open tuning," which for me was typical of Irish guitar. So I said to myself: I want to play the "Breton guitar"!
A.R.: You played electric guitar with the group DEN but then quickly returned to acoustic guitar: how did the idea of playing the electric guitar come about? Was it just a brief stint, or do you plan to continue using this instrument in the future?
S.S.: I've played electric guitar with the group DEN since they formed. In fact, in addition to acoustic instruments, there was a bass and drum rhythm section suited to electric sounds. But no, I didn't want to show off. I always had my Martin acoustic guitar with me. This electric guitar was special: it was made by a luthier who was inspired by the neck of my Martin and had installed a microphone system so I could achieve a sound reminiscent of an electro-acoustic. I always have this instrument with me and use it on some records to create the right ambience (overdubbed arpeggios).
A.R.: One last question: how do you assess the popularity of the "open tuning" guitar in Brittany today? Who are the most interesting guitarists?
S.S.: It's true that this school of "open tuning" has attracted many followers in Brittany; however, perhaps it would be positive if the artistic expressions were more personal. Among guitarists in Brittany, I particularly love the work of Gilles Le Bigot, both within the group Skolvan and in his own compositions.