Quebecoise cellist Jorane may look like a wood nymph, all Raphealite red curls and porcelain skin, but those expecting her to play a demure recital are in for quite the shock. Bowing and sawing one moment, plucking the strings like a guitar the next, the singer/songwriter uses her instrument almost as an extension of her body. Her live show is just the antidote for those bored by indie rawk boys who stare at their shoes while playing the same two chords over and over.
Jorane’s records have always been a different sort of listening experience-her latest, The You and the Now, is her first completely in English, following a couple of bilingual efforts and even several songs where she sang wordlessly, using her rich voice as just another instrument. While the hope is that the musician born Joanne Pelletier will find a broader audience for her distinctive sound, Toronto has always welcomed her with open arms.
V: This album is your first that is completely in English (save for one tune). Did it just work out that way, or did you plan it as such?
Jorane: Well, many events happened that made it come together that way. I had many songs when I went to go to record in L.A., but we decided to release some of the tracks on other mini-albums in specific areas where they would be better suited [e.g. a live album was released in Germany, and the Quebecois/French version of The You and the Now comes with a French EP). I recorded so many songs when I was down there that I did not want them songs to have to wait until I started on a new album. I really wanted to release them now. So The You and the Now was a very specific project where we kind of knew most of the songs would be in English, but we were able to find a place for the French songs also.
V: When you play live, you seem use your whole body, playing the cello like a guitar almost. How did you develop such a unique style?
Jorane: I’ve been classically trained, but I was singing with the piano and guitar. I started with the cello at 18 and I really used the music as a way of being. When I played piano as a kid, I was not opening a book and trying to play what was in it, I was playing songs that were close to my emotions-I did not realize until now that it was a type of composition. I think that at a certain point I saw that it was easier to play than to talk. When I started with the cello, it was a sort of revelation because it was so much closer to me than the piano or the guitar. I could sing and compose with it and I ended up deciding to practice more and more. I have never really listened to much cello music because I want to work on completely new music at all times.
V: I guess it also sets you apart from others, not only in the way that you play but in that you have a different style. Is that important to you?
Jorane: What is important to me is to have the freedom to produce as I feel inside. I have always made it really clear to people when I first started that I knew what I wanted to do. I did not know that travelling and producing CDs was for me, but I was confident about my music. Those who have helped me have been drawn in by my music and I told them that I would not compromise and that I wouldn’t be happy with changes and neither would they.
V: You worked on Sarah McLachlan’s Afterglow record last year. How did you end up working with her?
Jorane: I was asked by (Sarah’s longtime producer) Pierre Marchand; he has a studio north of Montreal. He just came and asked me if I was interested in playing on Sarah’s album, and of course I said yes. He left me with a lot of liberty and I really enjoyed the experience. I also ended up singing on the album, and apparently I was the first female guest voice on one of her albums. She was so nice and lovely and really happy with everything.
Jorane performs tonight (Wednesday, Oct. 13) at Revival (783 College). Tickets are $15 at the door.
