Ouri has consistently created immersive worlds through her music. From the enchanting cello pieces and emotive lyrics that form the backbone of her captivating Polaris Prize-shortlisted debut album, ‘Frame Of A Fauna’, to the experimental and complex sounds of Hildegard, her collaborative venture with fellow Montreal artist Helena Deland, crafting a profoundly moving sonic collage is an enduring aspect of her artistic essence. Her creations lie at the crossroads of intricate traditional elements and delightfully abstract compositions that resonate and bewilder simultaneously.
Her latest project, ‘Daisy Cutter’, marks a new chapter marked by an artistic practice grounded in curiosity, devotion, and human connection—a vital message for challenging times. The title’s dual meaning embodies a distinctive tension between vulnerability and resilience. By exploring the space in between, Ouri produces a work that feels both compelling and rejuvenating.
The artist discussed the creation of her ambitious album, its duality, and her transformative journey with CLASH.
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What sparked the journey for this album?
I believe it began with my desire to establish a new practice. I wanted to change my approach and recognized it would require time to break free from the expected paths I had set for myself. I didn’t want to create music out of sorrow or suffering.
I aimed to open a new door, allowing all the unworthy ideas to emerge first, then transition into something more meaningful. This shift started about a year and a half or even two years ago. I began waking up early, before coffee or anything else, and would create music for an hour without the self-judgment I had previously imposed on myself.
When you’re caught in a cycle, you reach a peak of critical thinking where every aspect is judged harshly to avoid mistakes. I wanted to break that cycle and start anew.
How did liberating yourself from limitations assist you during this process?
I believe it connected me to my true desires. I think desires can sometimes become distorted when you’re unsure of where you belong. This process helped me uncover what I genuinely wanted, rather than simply reacting to the surrounding circumstances, whether positive or negative.
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You mentioned that ‘Daisy Cutter’ exists in a space between reality and imagination. Can you elaborate on that?
Daisy Cutter is the name of a bomb, yet it evokes the image of someone pruning flowers. I found the concept of playing with appearances fascinating. As a woman in this world, you are continuously viewed from a specific perspective. I started to consider how I could own and navigate this perception differently. Could I create a character—a leader of a small group—who interacts with the outer world distinctively from her inner circle? At one point, I felt I became that character, but now I’m back to myself, and she continues to exist.
I aimed to create a sonic expression that lies between the imagined and the real. It’s essential for me to provoke the imagination and the infinite possibilities this invites. My goal was to craft sounds that occupy that intermediary space, which I’m also applying to my life.
Did anything guide you toward this new practice?
Honestly, just my intuition. I typically try to empower others, but it's important to realize I should not relinquish control. I considered having someone else master or mix the project to validate it.
Ultimately, I realized that no one else could take this from me. I needed to claim the final product. I permitted myself to fail; there were moments I believed the album was complete and sent it to my management, only to later decide I needed to revisit it. I wanted to explore and listen to it in diverse settings and environments. Touring with Charlotte Day Wilson last year allowed me to experience it in various countries and cities at different times of the year, thus revealing what was truly unshakeable. That clarity led me to understand the essence of the project.
Is there something you learned about yourself as an artist throughout this process?
I’m not sure. While I aimed to oversee everything, I also welcomed others to broaden my production horizons. My intuition is consistently reliable, but there are elements of creativity that remain uncontrollable.
Practicing patience and allowing time to validate certain aspects proved invaluable. I initially thought I might create something more universally appealing rather than niche, but I realize now that this is genuinely my essence. I try to craft an A-A-B-A-C structure, though it may not be perceived that way. I’ve learned I am constantly evolving and adapting, and that’s perfectly fine.
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Considering your collaborations, how has being part of a community influenced you?
It’s exhilarating to witness where two worlds naturally intersect without force. Collaborations don’t have to be long-term; they can be brief moments or the beginning of something extensive. There are things I desire, but I sometimes hesitated to pursue them, thinking they weren't aligned with my identity. Collaborating with others allows me to tap into parts of my identity that feel really authentic, which can be integrated into my work
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Ouri has consistently succeeded in crafting worlds with her music. Her captivating cello pieces and poignant lyrics have a way of captivating her audience.