Découvrez Paoro, le jeu 100% Algérien par Xerise Studio !
Découvrez Paoro, le jeu 100% Algérien par Xerise Studio !
Après avoir lancé le jeu 100 % Algérien Tynoo le mois de décembre passé, le studio Xerise revient avec un autre jeu d’arcade 100% Algérien baptisé Paoro. Il est disponible en téléchargement depuis hier sur Google Play Store. La jeune équipe Algérienne a mis en ligne un jeu très simple à utiliser mais qui a un niveau de difficulté très élevè. C’est un très bon challenge pour les amateurs de jeux.…
Doe Paoro is a celestial singer-songwriter, a Los Angeles-based artist who has garnered acclaim for an innovative, expressive sound that references elements of synth pop, modern R&B and earthy minimalism. Paoro’s spectacular output aims to create music with an unconventional approach to universal themes of love and loss... We talk to Doe about writing from a place of fulfilment, her musical soulmate and the benefits of yoga...
TSH: With regards to your upcoming material, has there been a certain type of directness that has been defining your direction thematically?
Doe Paoro: My upcoming record is a reflection of the period of time after a phase has been finished, but the next has not begun. The sense of being in a space between two locked doors, and the emotions that arise in that place.
TSH: How do you approach keeping the music fresh sounding?
Doe Paoro: The only way I know how to keep my music sounding new is to constantly be listening to what is happening, right now, in collective consciousness. Everything from politics to music to being aware of new gear that is coming out to conversations I catch in passing, and so on. I’ve been creatively stuck enough times now to know that if I’m not inspired, it means I’m not being present in my listening, because it’s always there.
TSH: What do you feel has been at the heart of your current songwriting sessions?
Doe Paoro: Most recently, I’ve been seeking to write from a place of fulfilment. I tend to turn to songwriting to express myself when experiencing loss, because it helps me move through the moment. But I don’t want to be dependent on sadness to be able to produce music; that feels dysfunctional and it’s dishonest to my experience because there is so much joy in my life too. I want to find a way to share that.
TSH: It’s amazing to hear the intuitive and organic way of relating to each other that you and Adam Rhodes have – how valuable is it for you to be able to speak the same language with someone musically like this?
Doe Paoro: Adam is sort of my musical soulmate; even now, with us living across the country, sometimes he will pop in my head and then I’ll get a call from him. That sort of psychic oneness comes through in our songs. That level of connection is the most important aspect of collaboration for me because music is a way to express something that is beyond words and if that way of communicating with your collaborator is already there, the stars are aligned to really tap into something transcendent. You’re not wasting time saying yes or no to ideas, it’s fluid and it’s understood.
TSH: Let’s talk about your truly stunning recent single ‘The Wind’ featuring Adam of course, and produced by Justin Vernon (Bon Iver). The song covers a palette of alluring courses – how did you go about structuring and arranging such a fine song?
Doe Paoro: When we wrote ‘The Wind,’ Adam and I had started playing around with this idea of the “mantra song,” which is to say, minimal and intentional lyrics that are repeated many times in different melodic forms. This song came from that place: we experimented a lot with structure and didn’t follow ideas about linear songs. We went with what made us emote the most. When we had a skeleton of the song, we sent it to Justin and he brought all these disparate parts together in a way that somehow felt organic.
TSH: Moreover, with a song like ‘New Lows’, what does the song’s overall message/ideas convey to you personally?
Doe Paoro: ‘New Lows’ is probably the darkest song I’ve ever written. Sometimes it’s a hard reflection for me to look at when I sing it live. I once read somewhere that your relationships are your primary food, so you have to be careful with what you’re consuming. This song was written before I understood what that meant.
TSH: The effortless, yet pleasing video that accompanies ‘Travelling’ is a beautiful watch. Was it a pleasant experience to bring the song to life in such sincere way?
Doe Paoro: Yes, I felt fully connected to the soul of it.
TSH: Do you still feel there is a sense of haunted longing that permeates throughout your songs?
Doe Paoro: In some of them, but not all of them. I think I am now entering a place where I’m on the other side of that.
TSH: How did you finally arrive at feeling your body as an instrument?
Doe Paoro: In 2011, I started training with a Tibetan Opera master and realising I could do things with my voice that I had never thought were possible for me. Our own potential is a mystery to ourselves. Around this time is when I started perceiving my body as the instrument for my action.
TSH: How essential has it been to find comfort in your songs, in order to help you through your own experiences and come out with a better understanding of them?
Doe Paoro: I go in with discomfort when I write a song, and find some comfort in the process of writing. I gain perspective with every song I write, and that truly does help in passing through the experience that inspired it.
TSH: You’ve often mentioned the benefits of meditating - the guidance you gain from the pauses, the disconnections and the silences, how does this allow you to channel a deeper sound?
Doe Paoro: When I meditate, I literally breathe from a deeper place within my body and become physically present in spaces that I’m not normally conscious of. Everything is everything. I think that same depth which I search for in myself allows me to seek understanding outside of myself, and to pull that into the music.
TSH: Does taking time to isolate yourself from your creative work help you to feel things on a different level?
Doe Paoro: Definitely. I spend a lot of time alone
TSH: Knowing that you bring lyrics and melodic hooks and build from there – in what ways do you look to tap into the energy of your co-writers?
Doe Paoro: The energy of the moment is always a synthesis of whoever is in the space. I’m extremely sensitive and get very inspired just by being in a room with someone else. I really like to write in a sort of “call and response” style where I listen to what the other person is playing and then offer up a bunch of ideas and we go back and forth till this merging happens, or doesn’t.
TSH: Why do you feel nostalgia can sometimes be limiting?
Doe Paoro: Anytime you’re in the past, you’re missing it.
TSH: How do you commonly like to unwind outside of music?
Doe Paoro: I hang with friends; I just got my yoga teacher training and turn to my practice. Time in nature.
TSH: What can you tell us about the importance of being patient, doing your due diligence and letting the right ones in?
Doe Paoro: The only comment I can offer that covers all three of those skills is that I’ve learned about them by making a lot of mistakes.
TSH: Finally, talk us through a few of your tweets and what led to them being put up. Firstly, ‘the problem with putting your guard up is that it's so hard to get it down...’
Doe Paoro: I had an argument with someone I was seeing and even after we had talked it out, and apologies and all the nonsense, I still felt this barrier. Like I was afraid to laugh at a joke, afraid to let up.
TSH: Also, ‘You shouldn't be able to buy your way out of conservation...’
Doe Paoro: Los Angeles is having a major drought right now and I was driving through a wealthy neighbourhood and saw all these sprinklers on, manicuring these elaborate landscaping designs. Meanwhile, many surrounding farmlands are dried up… it’s unholy.
