Quebec rapper Aswell is charting a course that prioritizes collective success over individual accolades with his upcoming album, Berger, set for release on . The project, a deliberate shift from his previous work, sees the artist embracing a more collaborative and musically expansive sound, rooted in his Quebecois identity.
The album’s genesis lies in a long-standing tradition within Aswell’s live performances. For years, he’s concluded his shows with a rendition of Gerry Boulet’s classic Quebecois song, “Vous m’avez monté un beau grand bateau” (“You built me a beautiful big boat”). Rather than simply a farewell, Aswell decided to integrate the song directly into the album’s fabric. “We always finished our shows with that. It was the moment of salutes, the moment the boat really left. I always said one day we had to do something with that tune,” Aswell explained. The track, also titled “Bateau,” opens Berger and will also serve as the new closing moment for his live shows, beginning with a performance at MTelus on .
This emphasis on the collective reflects a broader evolution in Aswell’s artistic approach. His debut album, Banlieue (2024), was a statement of origin, a declaration of his roots in Saint-Bruno. “In rap, you have to say where you come from. You can’t deny that. I come from Saint-Bruno. I had to own that,” he said. Berger, however, represents a different stage. “The storm has passed. I’m at the point where you feel like you’ve made it. The place I wanted to go, I’m there. The first one was where I came from. The second one is where I am.”
Aswell’s independence is a key factor in his artistic freedom. He operates as an independent artist, handling his own incorporation and deals. “I don’t need a record label in Quebec,” he asserts. “Labels offer connections, advance money, coordinate teams. But if you know the right people, if you engage the right press relations, the right collaborators, you can do the same thing. I know all my deals.” This self-reliance, while demanding, allows him greater control over his creative and business decisions. His nomination for “Succès populaire” (Popular Success) at the ADISQ awards, after being overlooked for “Révélation” (Revelation) the previous year, is seen as a natural consequence of this independent path.
Musically, Berger expands on Aswell’s established sound. “We come from the school of beats. We make beats and rap over them. Here, I wanted to bring the live aspect into the album,” he explains. The album incorporates a significant folk influence, with guitars and piano playing prominent roles. The creative process involved recording basic tracks in a chalet with producer Charles Madore (Worry) and musicians Alexandre Boivin and Shawn De Leemans, then layering in additional instrumentation and inviting other musicians to contribute. “There’s a lot of guitar, a lot of piano. It’s more musical than the first one. More flavorful.”
Aswell’s appreciation for folk music runs deep, citing influences ranging from Bob Dylan and Paul Simon to Quebecois artists like Paul Piché and Beau Dommage. “I listen to a lot of folk stuff. Even country. I grew up with… a guy, a guitar. The melody of the lyrics. The stories. That always hooked me more than the rest.” This willingness to blend genres is deliberate, driven by a belief that collaboration is essential for industry growth.
This collaborative spirit is evident in the album’s featured artists. Lost appears on the track “Zendaya,” while Loud Lary Ajust contributes to “Backstage.” “He’s huge right now. I love his melodies. People from different worlds need to do features together. Otherwise, the industry doesn’t move forward,” Aswell stated. The inclusion of Loud Lary Ajust is particularly meaningful, as Aswell grew up listening to his music. “I sent him the beat in November, he said yes right away. It’s a loop that closes for me.”
However, Aswell emphasizes that the core of Berger lies not in chart performance or high-profile collaborations, but in the sense of community that informed its creation. He describes bringing his entire team into the studio at the end of the recording process, capturing the energy of the room and incorporating those voices into the album. “When you get to the top and realize you’ve succeeded, a part of it becomes individualistic. I always speak in the ‘we,’ even if it’s my project. It’s cool to have made it, but it doesn’t mean anything if you’re alone at the top.”
The title Berger (Shepherd) encapsulates this ethos. “What’s important to me is bringing my world together. I’ve always done that. The shepherd guides, gathers, protects. We’re together and I’m taking us somewhere.” Aswell’s Berger isn’t just an album; it’s a testament to the power of collective ambition and a distinctly Quebecois vision of success.
