Pierre-Stéphane’s EP, GLASS, is a refreshing fusion of genres that brings together soul, jazz, R&B, and rock in a polished way.
Each track highlights a different facet of Pierre-Stéphane’s style, all while staying rooted in his background as both a musician and a construction glazier—a creator in every sense.
The EP opens with “Hot Girls,” a smooth blend of soul, jazz, and R&B with a modern blues influence that stands out, setting a warm, groove-filled tone. It’s a track that lets his love for soul shine, and it invites listeners into a relaxed, smoky atmosphere.
“The Birds” introduces a pop touch, built on a prominent piano melody that adds a lighter, catchy contrast to the EP’s deeper tones.
“Monster,” the third track, takes the EP in a bolder direction, with an alternative rock-inspired melody underscoring a modern R&B vibe. There’s even a sample from Snakes on a Plane, giving it a quirky, cinematic edge that makes it memorable.
“Nineveh” and “Trust” round out the EP by diving into introspective themes. They’re contemplative yet rhythmic, adding depth to the project as a whole.
GLASS is an impressive display of Pierre-Stéphane’s multi-genre influences, bringing together his roots and creativity in a standout debut.
Congratulations on the release of your EP, “GLASS.” The EP blends so many genres and influences—jazz, soul, rock, and R&B. Can you share your inspiration behind this unique fusion?
Over the years I’ve listened to many different genres and like many I’ve kept around what’s spoken to me. Music like soul and rock already have many similar sonic elements. You could say that Rock is a sped up version of soul. Tempo has a lot do with a songs feel and overall mood. Over many years of production experimentation I’ve found that certain tempos allow you to make multiples genres at once, or in one song.
Growing up in California and now living in Ottawa, how have these different environments influenced the way you create music?
California has always been home to some of the greatest entertainment on the planet. Growing up in Pasadena, I spent my early childhood surrounded by private school kids who listened to Kanye and Pharrell. Listening to these icons while also living in Los Angeles, I always felt as though stardom was within my reach. Now living in Ottawa I’ve kept the same foundation.
You’ve said your work as a glazier inspires your music—what parallels do you see between building with glass and constructing a song?
Constructing a song and constructing with glass, in their essence are both forms of art. Glass ads character to a piece of architecture, and although I never sought out to be a glazier, I can appreciate the beauty in this. Every building starts off with a foundation. Certain rules always apply. Like the key of a song determining what chords can be used. No matter which it is, everything starts with step 1.
The cover art pays homage to blue-collar workers. How important is it to you to bring these perspectives into the music industry, and what do you hope listeners take away from that?
I think there is somewhat of a stigma against construction workers. Some people might say we’re just a bunch of loudmouths. They wouldn’t be completely off base if we’re being 100% honest. But another truth is that there are also a lot of brilliant minds here who choose not to be in the spotlight. It’s a constant reminder that the world is always bigger than what we’ve been told to imagine.
As a producer and musician, how has your creative process evolved over the past decade, and what did you discover about yourself while making GLASS?
Although I decided to become a musician at 13, I didn’t start making beats and producing until I was around 17. It wasn’t until that time that I was able to bring my ideas and melodies to life. After many years of experimentation and three EP's later, I can proudly say that I believe to have found my sound with GLASS. Currently, Im focusing on playing primarily with live instruments.
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