Montreal Dancehall Ambassador Poirier's New Album Was Inspired by Global Migration

Poirier, a.k.a. Ghislain Poirier, has been enlivening dance floors with a merge of hip-hop, dance music, and Jamaican sounds in Montreal for over ten years. From his records on Chocolate Industries and Ninja Tune to his "Bounce Le Gros" parties that helped introduce ravers to the joys of dancehall, it's hard to imagine the city's musical culture without him.

On his new LP Migration (which we're streaming today ahead of its March 4 release on NICE UP! Records), the DJ and producer continues to push his exploration of Caribbean music and North American aesthetics, with guests including Berlin-based producer Machinedrum, frequent collaborator Face-T, and veteran dancehall artist Red Fox.

The final result is perhaps his richest and most inviting work yet, so we spoke to him about how Migration came together, the evolution of Montreal's music scene, and dancehall's current moment in the pop spotlight.

THUMP: Where did the title Migration come from?

Poirier: While I was composing the album, the immigration crisis was happening in Europe, so that influenced my state of mind. All of the music we hear, there's usually a migration that caused it. For example, if there weren't any Jamaicans in the UK, their scene would be completely different. You can hear the effects of people moving from one country to another one through the music. There's a political point of view to the title but also a musical one.

You've always had a Caribbean influence in your music, but it felt like it was through a Canadian climate, whereas this record sounds like straight and uncut dancehall. Was that a conscious effort?
No! I mean, I'm trying to make the music that I'm feeling. I wasn't concerned about making it colder or warmer, I was just trying to make a good dancehall, danceable tracks and that's how it came to be. I was trying to make it relevant for right now.

There's this push and pull between these dusty, live sounding drums and the more electronic-influenced textures on the record. How'd you achieve a balance there?
For me the real transition was trying to make something a little bit more musical while keeping my interest to do something hard hitting. It wasn't like I was trying to shock people. I was just trying to add a little bit more musicality and still keep the texture of the basslines that I'm interested in; maybe that's where the warmth comes from.

On my desk, I wrote myself a huge note that said "sweet reggae music"; it didn't mean the whole album would be like that, but it was a reminder that that's where I wanted to go on some tracks. On the other hand, I can't deny who I am and what I do so there's definitely an electronic influence on the album.

In Montreal there used to be parties with a mix of crunk and soca and dancehall and rap; nowadays you don't see that quite as much around here. Everything is available individually, just not in the same space.
It's hard sometimes for people to be open to many different styles of music. When I was doing "Bounce Le Gros" back in 2005-07, I would say my main line was between hip-hop and electronic music. I was going back and forth because I was really attracted by all the Timbaland and Neptunes stuff, and also the Baltimore club scene and baile funk, that was a really nice melting pot. Now it seems like the connection is more reggae, dancehall, electronic music, and all in-between.

On Migration you worked with a lot of vocalists you've previously collaborated with including Face-T and MC Zulu. How did you select who to work with?
Face-T is one of my main collaborators and we work really good together, so it was natural to have him for three tracks. It could have even been four or five tracks, but we did three good tracks and we were really happy. Then MC Zulu, he has a great delivery and he liked the riddims I had. For "Jump," that was more specific. I did the riddim and I wanted to invite a guest that I didn't know yet personally and that's how Red Fox came into the picture. I have a track with Machinedrum as well, we've known each other a long time and we appreciate each other's music and it was a good connection.

With that amount of diversity on the album, was it a challenge finalizing it and making it a cohesive record?
Actually, it wasn't… but usually it is! At some point I was writing these songs and creating more and more beats and I realized "I think I have an album here!" So I put together the finishing touches and thought "yeah, this is an album!" Then I played around with the tracklist for 20 minutes and that's what the final version ended up sounding like. Usually though, that process would take at least two weeks.

In terms of performing live, when you have a vocalist up on stage, how does that change your approach?
Well, I'm not trying to do a full sound system thing, but I'm taking the tools of a sound system so the MCs help to have a direct connection with the crowd. Also, personally it's just nice to have somebody to hang out with on stage. You can share the vibe, you're with a group of people and that's interesting because I like DJing a lot but DJing with someone else, it's a different energy and it's really a good way to share the music.

I have to mention, Drake and Rihanna's "Work" has brought electronic-tinged dancehall to the front of the pop sphere this month. That makes the album seem remarkably prescient…
[Laughs] What I can say for sure is that this album's been done for seven months, so I wrote my songs first! If it can help in any way though, I'm fine with it. You might eventually hear some kind of mashup between that song and "Jump"—not from me, but I know it's in the works from some people who're trying to do it.

Migration is out March 4 on NICE UP! Records.

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