CØLIBRI, the alias of French artist Jérôme Rotier, transforms his emotions and travels into introspective electronic music. With a cinematic style and notable collaborations, such as with Jordan Lawlor from M83, CØLIBRI creates soundscapes that intertwine nature, culture, and human stories. From exploring the Canadian North to performing on European stages, the artist offers a deep perspective on how landscapes shape emotional states.

At the beginning of 2022, CØLIBRI released Collapses, an electro-orchestral single co-produced with Jordan Lawlor (M83), highlighted by a live session at the Nantes Opera and a 3D video created by Hasim Akbaba. Later that same year, Jérôme premiered the documentary TASIURTA, filmed in the Inuit village of Kuujjuaq, at the Plaza Theatre in Montreal. Supported by the Institut Français, Nantes, and OFQJ, this project was presented in France in November 2023, alongside the release of his new EP Archipel(s), now distributed by Universal.

Last night, January 15, CØLIBRI performed for the first time in Bucharest at Club Expirat, as part of the SESAME Live Sessions concert series.
The SESAME project aims to connect and support emerging artists from France, Romania, Bulgaria, Ukraine, Moldova, Turkey, and Georgia through a dynamic collaborative process taking place in Bucharest. Funded by the European Union through the LIVEMX program and implemented in Romania by the Star Education Association in partnership with the Institut Français of Romania, it promotes intercultural collaboration through music.

In this interview for Capital Cultural, CØLIBRI shares insights into his EP Archipel(s), the challenges of working with Universal, and the excitement of his first concert in Romania.

Your latest EP, Archipel(s), has been described as both expansive and introspective. What themes did you aim to capture in this collection? In your opinion, what emotional state does it embody?

CØLIBRI: My latest EP was mainly influenced by my travels in the Canadian Great North. I co-directed a documentary in the village of Kuujjuaq with director Julien Granet.

I was immersed in such a different environment, culture, and landscape! It was wonderful. The first track of the album tells the story of our adventure at the city dump, which causes significant problems for the population. From our European perspective, it is shocking to see such a landfill left unmanaged in such a pristine place. A video clip is available on YouTube for those who want to experience this.

Other pieces are more abstract and talk about distance, travel, or my return home to Nantes after these intense emotions.

What has been the most challenging and rewarding aspect of collaborating with Universal on the distribution of your music?

CØLIBRI: I am fortunate to be distributed by a major music company, but to be transparent, this mainly happens through an independent Parisian label that works with them. This arrangement allows me complete freedom to release the music I want, when I want. It’s a real privilege!

What inspired the creation of “Collapses,” and what was it like working with Jordan Lawlor from M83 on such a powerful electro-orchestral piece? Did it offer CØLIBRI an extensive boost in international visibility?

CØLIBRI: I wrote “Collapses” during the pandemic, which was a very challenging period in terms of inspiration. That’s when I realized my music mainly comes from my life experiences, and when nothing happens outside the house, well… no more music!

So, I tackled the problem head-on and gave myself the challenge of writing a unique electro-orchestral single about the end of the world (a rather cheerful topic, aha). Giving myself this constraint allowed me to explore new sound textures, improve my orchestration, and collaborate with Jordan, who I consider a phenomenal musician and producer from Los Angeles! Working via Zoom was incredibly enriching, and I hope we can repeat this experience in the future. What is certain is that this piece resonated well and opened doors for me in other countries, leading to wonderful human connections.

Your live performances feature immersive visuals. How do you approach blending audio and visual elements to create a cohesive experience for the audience? Who is responsible for the video creations?

CØLIBRI: My music is often described as cinematic, contemplative, and very colorful. I also work as a film score composer, which I think is a key aspect of who I am as an artist. It’s only natural to collaborate with video artists to visually complement my pieces. Generally, I enjoy giving them creative freedom and trusting their ability to express themselves through my art. I then incorporate these visuals into my live performances.

We have noticed that you are always interested in exploring nature and different regions. How does a place or its local culture influence your music and storytelling?

CØLIBRI: Since I was a child, I’ve loved traveling and am naturally curious, so all of this profoundly influences me. Wide-open spaces, extreme temperatures, and collaborative projects in unique environments have become a lifestyle I’ll never abandon. There is so much to see, do, and discover. The main challenge for me now is reconciling this with train travel, and I think my future projects will focus mainly on Europe.

Could you tell us more about your documentary TASIURTA and the special project meant to promote la culture musicale contemporaine des Inuit du Canada?

CØLIBRI: I am incredibly proud of this project. Kuujjuaq is an isolated village of 3,000 Inuit located in northern Quebec. Its heavy colonial past and the neglect by public authorities have led to numerous social issues. We were motivated by a desire to give the Inuit a voice. Initially, it was supposed to be a short film after a five-day trip. It ended up involving two trips, workshops on electronic music with young Inuit in schools, and a feature film that we presented in Quebec, France, and Scotland!

I have even adapted the film into a cinema-concert format to present it live to the public. This project took immense time and effort, but the satisfaction has been enormous. I hope to present this film in Romania someday!

As an artist navigating both the French and international scenes, which country feels most “at home” for your musical genre? Where did you experience the most organic connection with the audience, both in terms of concert energy and listener engagement on digital platforms?

CØLIBRI: The French public is very kind, but the experience varies greatly depending on the venue and event—you never truly know in advance. I had an incredible time at the Edinburgh Fringe last summer. Regarding digital engagement, I remain a small French artist, and breaking through the algorithm is very tough and slow. However, the more I perform abroad, the more I see streams from those countries increasing, which shows that people are convinced by what they’ve experienced live. I’m deeply grateful for that!

This is your first performance in Romania for the SESAME Live Session. How do you imagine or what do you expect from the Romanian audience? Did you have the chance to study the background of the alternative Romanian music scene?

CØLIBRI: I hope there will be a good turnout at Expirat! I understand the concert scene has suffered a lot in recent years, which is very sad because I’m sure there are many talented musicians in Bucharest. It’s vital to have spaces to express oneself and test new music.

I haven’t had much time to delve into the history of Romanian alternative music, but since arriving, I’ve had many enlightening discussions about it, so I’m learning!

Do you see any parallels between your artistic vision and the cultural or artistic sensibilities of your SESAME partners Ja, Klar — the Turkish duo with whom you will collaborate during the creative camp?

CØLIBRI: The members of Ja, Klar are amazing, and I’m so happy to have met them. We share many things in common: influences, a desire to share our music with the world, collaboration with other musicians, and, of course, a love of food, aha.

I hope we will have the opportunity to see each other again in Europe and for us to perform in Istanbul!

The SESAME Project emphasizes collaboration and cultural exchange. Are there specific aspects of Romanian culture or music that you’re curious to explore or integrate into your future work? Have you had any collaborations with Romanian artists so far?

CØLIBRI: I haven’t collaborated with Romanian artists before because I didn’t know many of them, but since arriving, I’ve already met composer-producer Mischa Blanos, and I’m very impressed! He is incredibly talented. Who knows? Maybe someday we’ll collaborate.

Otherwise, I’m very interested in traditional music, its instruments, and scales because history is a great source of inspiration for me!

credits@ Camille Gauthier