14 Exquisite Pieces Only Gonzales Can Play

Born in Canada in 1972, Gonzales is now based in Paris, France. While his self-proclaimed title of "genius musician" might suggest arrogance, he is a true ultimate entertainer representing the modern music scene. He has performed rap backed by an orchestra, produced Feist's Grammy-nominated 'Let It Die' and the song "1,2,3,4" used in an iPod nano commercial, and even set a Guinness World Record for performing live for 27 hours straight. His talent is recognized by artists such as Jane Birkin, Björk, Daft Punk, and Drake.


In December 2011, Gonzales moved his piano to "Pigalle" studio in Paris and secluded himself there. The reason was simple: to record the sequel to his representative work, 'Solo Piano,' released in 2004 and hailed as a masterpiece of post-classical modernism. He told himself, "Just play the piano," and returned to his roots, beginning the recording of carefully selected pieces from over 100 melodies he had accumulated over the eight years since 'Solo Piano' was released.


As the album title suggests, the recording process, which was "piano only," was pure and delicate, continuing endlessly. Gonzales repeated the performance countless times until the essence of each piece was fully captured. He honed his unique sensibility, which effortlessly moves between the formal beauty of classical music and the dynamism of jazz, to its extreme. This work, like its predecessor, evokes the beauty and solace of film noir, reminiscent of masters like Erik Satie and Ravel, yet it is lighter and penetrates the listener's heart more deeply. 'Solo Piano II' is a crystallization of 14 exquisite piano melodies that only Gonzales could create.


Now, we present our interview with Gonzales, conducted just before the release of 'Solo Piano II.' Why did he return to the piano, and what does the piano represent to him? We invite you to listen closely to his own words.

'With a piano, I can be a musician and an entertainer.'

—What does the piano mean to you?

Compared to instruments like wind instruments that breathe life into them, the piano's expressive power is limited. Anyone can make a sound by pressing a key, so even a monkey could do it. The illusion of expression only arises when multiple keys are pressed simultaneously. However, making the keys truly "sing" requires considerable effort and dedication. Despite being such a large and imposing instrument, it is fragile. I believe that it is precisely because of this fragility that music worthy of being called "poetry" can be born. The effort required to make the piano sing enhances its expressive power. Without the piano, I am merely a clown. But with the piano, I can be a musician and an entertainer.



—After eight years, what prompted your return to the piano?

After creating 'Solo Piano' (in 2004), something changed within me, and the piano became the core of all my music production. Honestly, I hesitated a bit when I decided to make that album. I was concerned about how my existing fans would react, but the response was overwhelmingly positive, and many fans discovered me through 'Solo Piano.' I've released electro and rap albums, but I've always wanted to return to the roots of the piano. I've collaborated with Drake, worked on the iPad commercial, and performed hundreds of piano concerts. I knew many fans had a deep affection for the previous album, which is precisely why I wanted to challenge myself to create a work that could captivate both them and new fans.


—With each new release, we're always surprised by a new facet of your artistry. Is it your intention to entertain and surprise people through your music?


Many people who aren't typically interested in classical or jazz have been captivated by the modern emotion and tone of 'Solo Piano.' I strongly feel that I've delivered piano music that is more fitting for this era. After all, who would seriously consider listening to music by a pianist named "Chilly Gonzales"? Even those who might dismiss piano music would likely embrace this work if they understood a little of my personality and humor.


—When you rap intensely with an orchestra behind you, or when you quietly face the piano and play melodies...—Do you feel different emotions depending on the music you play?


Genres are convenient, but they also tend to impose rules. I study the rules of each genre and then consider how to bend them. When I want to create electro, I collaborate with artists who are well-versed in dance music, like Boys Noize. If I want to combine an orchestra and rap, I grasp the rules of each and experiment with how they can be combined. The reason I appear to be a "free" musician is not because I ignore the rules, but rather because I respect them. I don't believe I invented a genre like "orchestra rap." I didn't just mash two musical styles together; I rapped with an orchestra as accompaniment.


When thinking about the concept for 'Solo Piano II,' I considered the difference between European and American approaches to music appreciation. There's a distinction between appreciating music as art and enjoying it as entertainment. Interestingly, Montreal, where I grew up in Canada, is a place where the contrasting elements of American and European culture blend.


—What kind of album did you aim to create this time? Were there any significant differences from when you made 'Solo Piano'?


Moving to Paris had a significant impact. Composing the pieces for 'Solo Piano' is a very solitary endeavor, so it was the perfect place to immerse myself in my own world and create. While I composed 'Solo Piano' alone, my lifestyle has changed since then, and I've had more opportunities to collaborate with various people. Although the recording process was solitary, the work itself is not solely the product of one person.

—Your music is wonderful, but your music videos are always very unique as well. When do these ideas come to you?


The video for 'Solo Piano II' only shows my hands playing the piano. The sheet music for the previous 'Solo Piano' sold quite well, and I'm happy that fans practicing my songs while reading the sheet music feels much more personal than using the tracks as samples. It's more engaging.


I am actively involved in the production of music videos from start to finish every time. I feel fortunate to be surrounded by many creative individuals who can bring my concepts to life. We can bounce ideas off each other without conflict and freely share opinions during the creative process. I believe we achieve results that satisfy everyone.


—Will eager fans who want to hear 'Solo Piano III' have to wait another eight years!?


Who knows. I can't say for sure until I see the reaction to this one. If I were to make a film about Chilly Gonzales, this 'Solo Piano' series would be like a close-up, explaining how my other works came into being. Without the dignity and purity of the piano, I probably wouldn't have dared to attempt something as daring as rapping with an orchestra behind me.


—Are there any new challenges you'd like to take on in the future?


I've been involved with orchestras quite a bit recently, so I'd like to explore the possibilities there further.

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The beautiful melodies of Gonzales's 'Solo Piano II' will gently awaken the listener's dormant senses, offering a universal beauty hidden in silence, like something heard in a distant memory, unforgettable once heard.