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Flair to spare

Virginie Coossa, who makes local radio look better than ever, shares her thoughts on sounds for the holidays

by RUPERT BOTTENBERG

If you’ve seen those big, red CKOI posters in the metros, you know that among the cluster of doubtlessly talented but undeniably goofy-lookin’ guys, the lovely Virginie Coossa, co-host of CKOI’s late-afternoon show, sticks out like the one good finger in a fistful of sore thumbs.

Of course, Coossa’s familiar to viewers of MusiquePlus, where she handled both VJ and fashion reportage duties for three years, and to listeners of Radio-Canada, where she delivered the Friday-night Palmarès countdown of hits. Her background, a mix of Mauritian Indo-exoticism and down-home québécois charm, neatly reflects the perspective her ubiquitous media presence has instilled in her—a clear view of the wide world balanced with a firm footing chez nous.

Mirror: If someone asked you what kind of music you like to listen to, how would you respond?

Virginie Coossa: Okay, there’s a “before MusiquePlus” and an “after MusiquePlus.” I used to like regular pop music, like Madonna. Then, in 2000, I had the chance to meet amazing people who know music, people like Claude Rajotte and Réjean Laplanche at MusiquePlus, and I got into other styles of music. Right now, I’m more into hip hop and Britpop. I went to the Keane show—they’re a discovery, I’ve only known them since March or April—and I love that kind of music. I love the Dandy Warhols, and TV on the Radio also. But right now, yesterday and today, I’m really into Eminem.

M: Are there any links you could draw between the worlds of music and fashion?

VC: Yes. I started as a fashion reporter, and even went to the fashion weeks in New York and Paris, and most of the time I was seeing musicians at the fashion shows, of course, like Beyoncé, Usher, J-Lo—even Donald Trump, but that’s another story (laughs)! But from the beginning, I realized they went together. I started a show on MusiquePlus called Bouge!. I was inviting DJs, and they had no style at the time. Everyone at MusiquePlus said that the DJs were the artists with the least style. But in my mind, they have their own style. It’s not true that they don’t think about what they’re going to wear. But it’s different from hip hop and pop music.

Bob-bons and bons mots

M: Can you recall any particular moments during your career in the media that were for you, as a music fan, especially memorable?

VC: I know you’re going to laugh, but one was Ricky Martin. I thought he would be full of himself. This was in 2002. It’s funny, he told us he’d gone to the Paramount the night before. I asked him how it was possible that nobody recognized him. He said it was his manager who bought the tickets, and him, he had a cap on. He went into the theatre just after the beginning of the movie and left right before it ended. Nobody saw him! He was walking on the street, and he said it was a question of attitude. That’s when I realized that some artists, like Britney Spears, want to have the attitude and the entourage, because that’s how they establish their status. Ricky Martin was a lot simpler than I thought. I felt he was sincere.

M: What do you think is the most exciting trend in music right now?

VC: You’re gonna laugh again, but I went to see les Trois Accords last night, and I was really impressed that they’re so popular and they’re using humour in their music. That reminds me of les Cowboys Fringants, also, bands who have something to say. I think people are looking for a message, or at least a position, from a band or a singer. When I’m listening to music, I don’t want empty lyrics. I want to hear a position on society or the environment, and I think that in both English and French, it’s more and more important. We realize that more and more, artists are there to have their say, and we saw it during the American election. J

Virginie Coossa’s Top 10 for 2004

Keane Hope and Fears (Interscope)
It’s perhaps inevitable to compare this band to Coldplay, but Keane manage to sound a little bit more delicate. Rather than guitars, the trio uses a piano, which gives them their particular sound. Their big hit “Somewhere Only We Know”—the one we can unfortunately hear in a Victoria’s Secret commercial—is a melancholic song with a touch of hope.

TV on the Radio Desperate Youth,
Blood Thirsty Babes (Touch & Go)
To appreciate this Brooklyn band, you have to like mechanical repetitiveness and metallic sounds, introspective songs with silver-throated—à la Peter Gabriel—and soulful vocals. I like their musical exploration!

Franz Ferdinand self-titled (Domino)
Cerebral rock mixed with ’80s synth pop and old-fashioned soul that makes you want to dance. Reminds me of Blur and Radiohead (“Come on Home”). They have been called “the British Strokes”—love the energy!

Pierre Lapointe self-titled (Audiogram)
This 23-year-old singer/composer/pianist won the Felix in 2004, and is seen as Quebec’s new prodigy. His words are deep, mixed with his very distinct sound (often tango or a waltz tempo)—he creates his own magical world. If you like Boris Vian, Léo Ferré or even Claude Léveillé, Pierre Lapointe will touch you.

Les Trois Accords Gros mammouth (Indica)
Surprise of the year in French Canada. Five guys from Drummondville worked with no budget to produce their first album and quickly became one of Quebec’s best-loved acts of 2004. CKOI, where I work, contributed to their success by spinning their first hit “Hawaïenne” all summer. They proved that to have a good sense of humour is definitely a recipe for success, especially with the younger crowd. Catchy québécois folk punk, great for driving!

Junior Boys Last Exit (V2)
This is the kind of album that grows on you with every listen. It makes you want to dig out those old OMD, Human League and New Order albums. Intelligent synth-pop, where the melody is at the centre of their compositions.

The Dandy Warhols Come Down (Capitol)
This is an enigmatic but still accessible band from Portland. They make psychedelic pop, mixed with ’60s guitar riffs and ’90s Britpop sounds. The good thing about them is that they don’t take themselves too seriously, and they know how to make swell, intricate and catchy songs (with a lot of drug references!).

Interpol Antics (Matador)
Second album for this NYC-based band, more romantic and sensitive than their first one from 2002. Inventive music, great hooks. If you like the Strokes, Interpol is your kind of band. The best song, also the shortest, is “Evil.”

Eminem Encore (Aftermath)
The Eminem Show from 2002 is one of my all-time favourites, so I had to mention Encore, even if a little obvious. Yes, it’s predictable, has a few monotonous melodies and tempos, but I love Eminem—there you go, no one’s perfect. We have here a more mature album, with great collaborators and subjects that go a little deeper.

Various Hôtel Costes 7 (Wagram)
For many years, I’ve been a fan of the Buddha Bar, Café Del Mar and Hôtel Costes compilations, so I had high expectations concerning the new Hôtel Costes. Stéphane Pompougnac, famous for mixing eclectic genres of music, offers us another —yes, another—French-jazz-funk-soul album. Still très agréable et efficace for funky lounging.

Honourable mentions:
Placebo Once More With Feeling: Singles 1996–2004 (Elevator)
Nelly Sweat (Universal)
The Organ Grab That Gun (Mint)
Projet Orange Megaphobe (Vik)
U2 How to Dismantle an Atomic Bomb (Island)
Beastie Boys To the Five Boroughs (Capitol)