Publicado el 03.05.2017
Hello Cyril, we are really happy to have you on our podcast series. Since you are French and living in Paris (if I’m not wrong) I guess the current political situation in your country is of your interest. What’s your opinion about it?
Thank you very much for having me on board.
Well I’m not an expert in politics; all I can say is something that many of us know already. There clearly is a need for change in the way we are all globally functioning on our planet! Half of the world is at war, and we, let’s say in our ‘Western capitalist systems’ seem to be locked in an endless run to consumerism and often selfishness somehow.
Here in France some people, probably out of despair, choose the extremes and blame ‘others’, whilst some people try a more open minded way to try develop changes that would hopefully make us more responsible in terms of ecology, consumption, and hopefully will do their best to keep us at peace. I’m not judging anyone as it seems very difficult to engage a change and make things move in a positive way. All I know is that hate and discrimination is definitely not an answer, and it’s a bit of a cowardly way to face the problems.
But those changes for a more responsible world by truly embracing a global approach of things will definitely aid efforts and deep changes in our economy and social ways of functioning.
You have been part of the Paris clubbing scene for ages, how do you see it right now? What's your opinion about the 24 hours opening licenses that, for example, Concrete have obtained recently?
I’m a music guy and always have been. This is why in my younger days I had a hard time getting in clubs, you had to be dressed a certain way etc. and I didn’t have the right look.
That was a time when clubs didn’t really want to hear too much about House and Techno, but the raves allowed us to go and party for the music with the music, not as I sometimes see it today with the music as an accessory to complement drugs. House and Techno was a revolution, a movement and a main motivation to go out, but also a culture we had to fight for to makle it accepted and then respected. And on my own little level, in the early days of House and Techno I helped defend it here in Paris. Hopefully I also helped it to become respected a little with my 12 years of radio shows on Nova and FG here in Paris, so there is less to fight for/about now.
Today House and Techno Music is playing in the background of every supermarket of the planet, it is globally accepted, so the situation has completly changed.
Clubbing is such a huge trend I sometimes hope music stays at the center of clubbers motivations. If people want to party for 24h enjoying amazing music of course I’m down with that, but what really interests me is the music - period.
You have been always moving easily between techno and house, and always quoting the Detroit, Chicago and NYC as source of inspirations. If you could choose which of the three cities would you prefer to have lived first hand: NYC in the Paradise Garage / The Loft era; Chicago in the Warehouse era or Detroit at the end of the 80s beginning of the 90s? Why?
Man this is such a hard question, I almost can’t choose! But if I can answer this way: I was lucky enough to get to meet Derrick May when I was quite young. He invited me to his House in Detroit after his first set at Laurent Garnier’s Wake Up parties at Rex club in Paris, and some years later he lived in my house in Paris for many months. He also helped me do the Detroit part of the Universal Techno documentary, that Dominique Deluze (who directed the documentary) asked me to collaborate on (and I only agreed to be involved in the Detroit part, you can even see me in Submerge store behind Kevin Saunderson in the film), so somehow I had a chance to have a little involvement in the Detroit experiment thing, which was I lucky to experience first hand.
But going to the States at an earlier age, and especially to NYC, was a huge inspiration and had a big impact on me. Even though I was still very young, I remember buying Mr. Fingers ‘Can You Feel It’ at Vinyl Mania without even knowing the importance of this specific record store in our scene (or that Paradise Garage was a few blocks away).
As for Chicago I’ve been there a few times and loved the vibe there. I would have loved to somehow experiment in the early days there!
And nowadays? If you can choose a city to live other than Paris which one would you pick?
I love Paris to be honest. It’s my city and I love the culture and vibe of everything here. I love many cities around, but I always come back to Paris! :)
I know you have travelled to different African countries when you were a kid. Do you think this may have marked you as a lover of black music.
Honestly I always ask myself the question, but I have no idea. I think I was way too young for it to possibly impact me. But the truth is I do have a thing for Black music in general yes :)
When you started your labels, nearly 15 years ago, there wasn't as much labels as right now. Do you think that now is more difficult to gain attraction in the electronic music scene that it was before?
Yes definitely, the whole business has changed so much that’s it’s hard to compare. It seems today that for some artists releasing House and Techno records create a way to exist in social media and use it as a tool of communication, if I can say, which I can imagine at times make the authentic/real factor a rare and precious one :)
Seriously when independent labels were strong you’d have some kind of discussion between the labels and artists. For instance, the label could say something in the vein of “well, I listened to your last track… it’s nice, but don’t you think you could work a little harder to make it different from your last?” Or to make it different from the many similar tracks that are out already.
It seems that now every artist has his own label, and artists have to be judge and jury about their own music, which is not an easy task. I’m still trying to run the label as an entity, something that has a little history, with moments, changes, evolutions etc…
I am extremely thankful to all the artists that trusted me with their music; it’s been a fantastic journey so far. When I started Deeply Rooted (House) I could never have dreamed of releasing Music from such legends as Kerri Chandler, and being able to collaborate with really talented French artists such as Franck Roger, Manoo, Alex From Tokyo or Dj Gregory etc…
More recently, I was able to do something that I specifically like, trying to link the dots between House and Techno in asking Ben Klock to remix Kerri Chandler. It was a true moment of excitement, and the result to my ears was and still is quite magical.
Also, collaborating with some of the newer wave of artists and legends that have emerged since mid 2000’s such as Zadig, Francois X, Marcel Dettmann, Bleak, J.C., Jonas Kopp, Mike Dehnert, Insolate, Marcelus etc is really interesting and I am so happy to be involved with artists like these to exchange ideas and develop something strong on the label
How are things going on with Deeply Rooted. Tell us a bit more about your Dj Deep Cuts Series.
Things are going really nicely. I am about to release the remixes of my Cuts series, with the first volume featuring mixes from Mr G, Ben Sims, Steve Rachmad and Roman Poncet. The second one will feature mixes from ROD, hopefully Radio Slave, and some other surprises!
I am talking with Ben Sims and would love to release a record from him. He just sent some awesome acid tracks that I am crazy about! Also Roman Poncet has some incredible new tracks that I would love to release.
I also have some tracks that I really want to release, but would like to create a bit of space on the label and may instead release them sometime next year.
In the past years you have been collaborating with Roman Poncet publishing music with different alias. How was the experience of working with him in the studio. Are you planning to do more things together?
It’s been an amazing experience for me. Roman gave me confidence in trying to produce music again and his talent and positive vibe have been a great encouragement for me, so for that I am extremely thankful.
I have to say we’ve always had fun working together since the beginning. It’s always been like playing together and that is something, which is for me, priceless.
We take music very seriously, but we don’t take ourselves seriously! So jokes are flying around when we are in the studio even though we are very focused, and in our own respective fields pretty much perfectionists.
We have recently finished a second Sergie Rezza album. Like the first one it features a lot of our influences in terms of sounds and textures. It’s a bit Ambient, a bit experimental, with elements of House and Techno, as well as Soul, Jazz, Industrial and African music influences
We are also working on some new Adventice productions, focusing on a more Techno vibe.
You have also started a new alias, Rébeval, that you used to sign one EP on L.I.E.S. in 2015. Why using this new name? Do you think you will use the alias again soon?
Rebeval was the name of the street where the pirate radio FG (at that time) was located. In 2015 I posted a mix I did on FG in 1994 and Ron who runs L.I.E.S heard it and liked it. It inspired me to create tracks with the vibe of this era and Ron liked them. I would love to do something again for him, hopefully this will happen one day.
And finally, tell us what have you tried in the mix? And if you have to choose on the tracks you have include which one would you pick and why?
As always I tried to mix up the styles a little bit, oscillating from House to Techno with different flavors and influences. There’s some African influenced tracks such as Joaquin Joe Claussell’s Bolla Afrikan Basement ‘Sangre ‘ which I absolutely love, through to some straight 2017 Techno tracks such as Mattias Fridell ‘Regelbundet Slarv’ (P.e.a.r.l. Remix). There are a bunch of exclusive jams in there and I hope you’ll enjoy them!
Texto de David Sánchez
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