Sampling has always been central to rap, and Douze sur douze is no exception. As with previous projects, producers Ajust and Ruffsound — longtime collaborators of Loud — pulled from a wide range of musical influences to craft the sonic landscapes of the album.
This time, songs by Ariane Moffatt (Hasard) and Salomé Leclerc (Ton équilibre) caught the trio’s attention. While the resulting tracks take a different direction from the originals, both artists actively contributed to the new versions.
Speaking about Par hasard, Loud explains how Ariane Moffatt’s chorus influenced his writing: the song became a reflection on chance, career paths and the way success is often framed as luck. Rather than denying that idea, Loud approaches it with irony, questioning how much of a career is truly accidental.
Ariane Moffatt not only approved the reinterpretation, but also sings and plays piano on the track, a creative endorsement Loud values far more than a purely legal one.
On Entre nous, Salomé Leclerc’s presence is more subtle, with a single vocal track woven delicately into the song. Loud still considers it a duet, describing the intimacy of the piece as a quiet dialogue, something said “between us,” but also something that exists between two people.
Choosing patience over momentum
The album title Douze sur douze reflects both its structure and its creation process. Developed over the past year, the project arrives more than three years after Aucune promesse. Loud addresses this delay directly on the opening track, acknowledging the cost of taking his time, but also the value of protecting his peace of mind.
After the whirlwind success of Une année record, Loud admits he felt pressure to keep moving quickly. With time, however, came the freedom to change direction and accept that audiences had certain expectations of his sound.
Despite the gap between albums, Loud remained active: festival performances, shows at Paris’ Olympia, and touring with Loud Lary Ajust all fueled his desire to return to the studio. These live experiences also reshaped how he thinks about his music on stage.
By drawing connections between albums, Loud now sees his performances as waves, balancing introspective, minimal moments with more energetic and muscular tracks. This contrast, he says, creates a richer and more dynamic live experience.
Loud will begin a Quebec tour with Rymz on January 30 in Jonquière.
Reading between the lines
Several tracks on Douze sur douze reveal Loud’s sharp sense of observation and restraint.
On Splash, he reflects on imitation and critique, suggesting that some of the people who understand his music best are also the ones taking subtle jabs at it. Rather than calling them out, he encourages honesty, with elegance.
A Win Is a Win tackles the culture of appearances, calling out the illusion of wealth and success. Loud questions how pretending to “make it” often creates distance between artists and their audiences, instead of genuine connection.
Finally, Une chose à la fois captures Loud’s measured approach to success. While acknowledging the doors his career has opened for others, he avoids glorifying it. For him, progress doesn’t require constant self-celebration, sometimes, it’s enough to move forward quietly.
