by 
In an industry where release parties are often private, elitist parties, Monk.E does the opposite, he invites his audience. On October 21, the day his album L’éphémérité was released, he welcomed his community at the Red Room to share a moment together. Back to basics. The fifty or so listeners gathered were simply there to experience and listen to the album and its story. Almost spiritual, the release party reflected the artist’s intimacy.
When I arrived, the album had already begun. The underground bar room is equipped with five massive PK Sounds speakers, from which purple light and red neon illuminate the album’s producer/beatmaker: MOTUS, dancing to his own beats at the rhythm of the audience. No security or barriers, the stage literally blends in with the audience. This proximity is felt by the audience, who attentively listen to the album’s tracks as well as the anecdotes and stories on the latter. An intimate atmosphere settles in as Monk.E talks about his art and himself, which gives way to a contagious energy when MOTUS kicks off the album tracks.
I step into the room just as Game Time kicks in. Third track of the project, and more importantly, the first feature of the album, with Geneva’s very own Di-Meh. A dreamy, 2000s-inspired synth floats through the speakers, carried by Di-Meh’s long verse, a sign of respect for Quebec artists. After giving props to MOTUS for his taste and talent, Monk.E announces this won’t be the only Swiss collaboration. Slim K, another Geneva headliner, met through rapper and producer Rox (also from Geneva and member of Le D.U.O) appears on the album as well. Their chemistry on Mouton Noir is unique. Slim K captivates instantly, with a vocal presence both steady and powerful. While the hook didn’t fully convince me at first listen, it’s catchy and carried by the depth of the beat. A similar characteristic shows up on the following collaboration with Swift Guad, rapper from Montreuil close to the Scred Connexion universe. The track moves on a smooth, even sensual beat in the same spirit as the title of the song Filles de joie, a term used in Quebec for sex workers. This international dimension keeps unfolding as the album progresses, with more guests from Geneva (El Carnalito, M.A.M, Rox), Paris with STI, Montreal (Berlam, Pogojunt), and even Montélimar with battle rapper 2taf, to name only a few. In short, a complete roster that’s well-curated within the project.
Throughout the event, Monk.E reveals the album’s soul. Much more introspective than his previous work, he tackles his own vulnerability, spirituality, and love. The song Les couilles sur la table fits into this latter theme, despite its rather crude title. As he introduces the song, we understand that it is about his relationship with his ex-wife, which he had never addressed in his music before. The depth of the love story he describes and conveys in his lyrics is powerful and touched me despite our age difference. He then gives a speech on love and the difficulty of loving in our times, celebrating those who still manage to build and preserve a relationship in this unstable climate. His intention is clear: to express himself without any filter, exposing his melancholy and doubts to his audience. In this sincerity, a thought naturally comes to him: Dali. A young fan, present since his beginnings, who passed away exactly one year ago today, to whom Monk.E wishes to pay tribute. He then asks for 33 seconds of silence, a symbolic number in several spiritual and religious traditions. A respectful and profound silence settles in, charged with great emotion, as Monk E introduces Dali’s father to the audience, who courageously shares a few words about his son. A raw and authentic moment representing perfectly the relationship between Monk.E and his audience.
Throughout the evening, Monk.E remained true to himself, offering a human experience where music regained its greatness. We don’t know the album, so we listen and feel, a rare moment in a music industry that consumes quickly and moves on even faster.
