Imported Goodness #02 – LH4L

We were chatting briefly and you mentioned one thing that you are excited about is starting a new label.
Well one thing is that I don’t want to wait. In terms of production I want things available on platforms such as beatport and itunes. That’s the first thing. The second is in terms of promotion is to do anything I want artistically. The artwork, video clips, anything can be done well and on my terms.

How important is the visual aspect? There are so many more ways that people can see the product through senses.
I think it’s half about the music and half about the way you present yourself nowadays. Someone like Dillion Francis is a character who is a funny guy, and it could also be like my friends Alesia, where it is more of a mystery,

Like the producer ‘ZHU’ ?
Yea, or an idea like Daft Punk had like 20 years ago. You have to keep these things in mind when creating a project.

There is so much more to consider than just listening to the music.  The entire package.
But the music can’t be bad. You still have to make quality music and understand how to do that. If the music is no good it will go into the trash.

Speaking about the label, would you ever consider putting out music for another artist?
Of course, in Point Point we are four members so we released an EP from Nomac, a member of the crew and also some free stuff from other friends and people we know. It’s the same sort of future bass that we make now, in that realm.

Most of the releases are geared towards that genre?
We want to create a sort of universe around Point Point (laughing)

Personally, how would you define your sound?
I dunno man. A big bunch of drums (laughing), yea I would saw it’s driven by the drums and then a little bit of melody and maybe chop up some samples. I am not really a musician myself so I start producing myself by making bootlegs and edits of tracks.

Do you change your style up when approaching different tracks?
Well not really, when I made the ‘Deep Down Low’ remix it was quite quick and easy because I had such a good sample to use. Then I was thinking about maybe adding some Brazilian style drums. Now I am focused on chords, learning chords a lot. I want to make music that is powerful but musical at the same time. I did a remix for Diplo’ of “Set Me Free’ that has a good melody in the break and the drop is mostly drums. Finding that balance between the break and the drop is important.

Does producing for other artists interest you?
I would love to! I would love to produce more, and become a kind of beat-maker. As of right now, I don’t have many opportunities to do that, so that is something that I will have to put off until later.

You’re from Paris, a city that’s entrenched in history when it comes to music, but also a really good club scene. What’s that scene like today?
Well really I am the worst for this kind of question because I don’t really go out to clubs! I just like to be behind the decks and see everybody, not really be out there with them (laughs).  But there are good club nights too. Club Cheval and the Bromance Records guys are always doing cool things. Have you heard of Birdy Nam Nam?  They started as a turntablist crew and competed in the DMC championships a long time ago. There is a lot of hip hop being played in the clubs right now, crews like Bromance, us the Point Point crew and another named Yard, all are making cool things happen in the city.

You’ve played in Seoul once before, how does it feel touching down in a new city and getting a chance to see a new scene and how people react to the music?
Well I was with my crew so it was kind of a Paris party in Seoul! But I know that Cakeshop is known for having an underground feel and crowd. There have been lots of guests at the club like Ryan Hemsworth, and I even saw Dj Snake played there too. It’s a big club in that scene, when you go there you feel a little different because it’s different than most clubs.  It also carries that hip hop spirit a bit too from the early 2000’s so its really cool.

How do people find out about everything? The music, the clubs, or what’s good as opposed to what isn’t. Does technology play a factor?
Hashtags (laughs) It’s all hashtags.  We have to rethink about how to present the music because everything is available online.  We have to think about everything.  Our avatar, our profile, this is what will be exchanged with people.

The process for releasing music has totally changed.  Tracks can be released at any time and then are often subject to brutal critique online.  How do you react to that? Does it frustrate you?
At first I read all the comments but had to stop. There were some messages from fans that said that they really liked it, and that might be good for the ego, but I am not interested. I just want to make tracks, good stuff, and make my friends laugh.

I wanted to ask about your relationship with OWSLA. How is it treating you?
I recall seeing a post that Skrillex was on his way to Paris. I sent him a quick message and we linked up at a bar. He was only there for 24 hours, was to meet others too so it was nice to catch up.  He is a real genuine guy, and he has time to talk to everyone.

How does he play a role?
He believed in Point Point from the start. We were making completely different music than he was at that time, but he really liked what we were making and believed in it as well. Hearing that was a relief in a way, it reminded us to keep going and it was the right direction. He has played a role and he offers his advice. We communicate more often these days,

Similar to Skrillex is Diplo. His schedule is endless, and his label releases a high volume of original music online. Both OWSLA and Mad Decent have a distinct sound that makes good for festivals, but is it time to look elsewhere? Is the aggressive side of the music becoming too much?
Well I think that EDM 1.0 is already over and that sound is finished. Look at the Jack U project. It’s future bass, hip-hop, trap, hard style. It’s pop music too, just listen to the vocals, that is future in my opinion. Everyone will want to produce like Jack U. Using different elements, that sound is where its going.  It is already so big though. Artists like David Guetta do this on such a huge scale and then behind them people like DJ Snake who is also from Paris. He was a club DJ in Paris, but also a very well known producer. He has tracks on Lady Gaga’s album and was already good at production and making beats. He is in an odd place right now maybe, but he is working on his album and it sounds amazing.

I want to shit the focus back you on you. How did it start? Are your roots in Djing?
I’ve been a DJ for about 10 years, and producing for about 4-5 years ago. At the beginning it wasn’t that fun, it wasn’t until I discovered a sound I liked. That is what made me want to produce more and take it seriously.

That sound, what are its influences?
That early Mad Decent sound, artists like Rye Rye. Baltimore club music, some baile funk.  Ghetto bass, Miami bass, this is what I was really into at the time.

You did mention how important drums are in your production
Yes, these were the types of music that I was listening to. These types of ‘ghetto’ sounds, even though I am not from the ghetto. I am from a house in the country, a quiet place to grow up. Now I’m just a regular guy making drums and beats.

What about non-musical influences? Do they play part in the process?
I studied cinema in university, and have a love for film. I am influenced by Science Fiction movies, but I don’t really get involved with the whole sci-fi culture, it’s more about the films. I am also influenced by the French artist Marcel Duchamp, who had a vision and said everything can be art if you say so, and if there is an audience for it.  And this is why you can make music with drums.  You don’t have to know chords or be very musical. You make something and find the audience for it.

With that audience there will also be an industry, and in this case one that has had to drastically change over the past decade.  How do you feel about the ‘industry’ or lack there of?
Oh I don’t know. I recently listened to an interview with Diplo and he spoke about how it was a complete break down. The process has changed so much. The music maker can be the music seller, and they don’t need to ask anyone or go through any channels.
So I’m happy that I am young and if I needed to make CD’s I would do that, but now I can make MP3’s and people can hear the music on my terms. I don’t think though that we can earn money on just selling music.  I blame Steve Jobs and the 99-cent Itunes song and Napster, which basically killed the music industry. The labels couldn’t do anything.

I remember 50 cent selling something like 13 million albums in one year. Last year Taylor Swift sold a little over 2 million total.
Yes but don’t forget about streaming. I think that streaming is the future of music and the way the industry is going. There so many services from Spotify, YouTube, soundcloud and mixcloud and Itunes.  They are even being sued by the labels now for posting material without consent. It’s frustrating but I depend on Soundcloud a lot and just hope I can continue to use it. It reminds me of MySpace a bit but that died and so will Soundcloud one day.

Looking ahead, where do you see it going in the coming years?
Well first I want to be a dad, just because I want to be. I wish big things for the label of course and I hope that my solo career also continues to improve. I would really love to tour, and get a chance to play in the US. That is a dream of mine.

Thanks so much for the chat, have a safe trip back to Paris!
Thanks!