A2. Kosovo Hardcore
Along with the validation of Modeselektor imprint 50Weapons’ programmed extinction back in 2015, French producer Bambounou – one of the label’s staples with two albums and a handful of EPs – went off the radar to refocus and renew his approach to music production. Returning after a three-year hiatus, the former ClekClekBoom affiliate eventually resurfaces with a three-track effort, ‘Parametr Perkusja‘, due out on Don’t DJ’s Diskant sub-label, DISK, at the end of the month.
Straying away from his previous instalments, this debut release on Florian Meyer’s offshoot marks a sharp aesthetic rupture and mature shift for Jéremy Guindo-Zegiestowski’s growingly intuitive body of work. As it rushes into further ominous experimental grounds, the EP opens up new artistic pathways and processes on the way, exploring more direct and spontaneous methods.
Fruit of extended recording sessions where the Parisian artist’s learnt to reclaim his sonic space and creative mechanisms under a wholly new perspective, ‘Parametr Perkusja‘ cross-fertilises hypnotic gamelan motifs with complex polyrhythmic patterns and impactful tribal-tech bursts; offering a stamina-testing clash of styles that’s both feverish and highly dynamic. We caught up with Jéremy to discuss his longed-for return in business, studio matters and the new orientation his music has taken over the years. Stream the perc-heavy addictive number ‘Kosovo Hardcore‘ down below.
Interview by Baptiste Girou
"I realised I had loads of synths that I didn’t use and I wanted to make a quite simple EP in terms of melodies, but weirdly executed."
Your latest EP, ‘Parametr Perkusja’, is about to come out on Don’t DJ’s imprint DISK. Can you tell us more about it? What’s the big idea behind the record?
It’s my first solo EP in about three years so I’ve put quite a lot of work into it. You might think the tracks come out quite simple but it’s been the whole process for me to reach something I like again. The big idea behind the record was to have fun and try to make something pleasurable for both me and the people who are going to listen to it. And percussions, I just love percussions and always did!
In which context did you create the tracks? What was your mindset for this very record like?
I just moved into my new studio and I was plugging everything in the wrong way. I was having so much fun plugging and unplugging everything, I eventually realised I had loads of synths that I didn’t use and I wanted to make a quite simple EP in terms of melodies, but weirdly executed.
‘Parametr Perkusja’ has a very distinctive quality to it. The press release states you put the focus “on the phenomena of resonances and dissonances in steel fixtures”. Can you explain us how you proceeded technique-wise?
Did you ever, while washing dishes, knock two steel fixtures together? Like a big metal plate and let’s say a fork or anything else. With the water on top there’s an amazing sound (that I will sample very soon and probably work around these organic sounds). That was my main inspiration and to some extent the work of Pierre Henry, and every science review of any kind I lay my hand on.
The metallic-sounding nature of the record recalls Don’t DJ’s own ‘Gamellan‘ record, released on Berceuse Heroique two years ago. Was the influence of the Javanese/Balinese music a conscious one? Did you discuss this with Florian?
Ah, I love this release and no we never discussed it before, so I guess when I sent him the EP it came up as an evidence for me to release on his label.
Did you have some points of reference for this record, or did it mainly feel like stepping into unknown territory artistically speaking…?
I had some technical points of reference. I knew I wanted to do a polyrhythmic EP but still suited for the club, so people can dance to it.
"Florian is an artist who respects other artists, so the last word will be for the artist - which is a quite genuine way to be a label manager in my opinion."
I read you met with Florian (Don’t DJ) during a night at iBoat, in Bordeaux, where you hold a residency. How did the idea of collaborating first emerge?
Well the night was going well and Florian was really happy with his live set, and people totally loved it. Then he listened to what I played and the sonic continuity was ideal. Later that night when we talked he suggested that I send him some tracks and now you know the whole story.
What kind of label owner is Florian? Does he give you full control on the music or does he like to intervene in the process?
Florian is an artist who respects other artists, so the last word will be for the artist – which is a quite genuine way to be a label manager in my opinion.
What’s your studio setup currently comprised of?
A DSI Tempest, 4 polyphonic synths, 2 mono synths, some small semi-modular devices, an ARP 2600, an amazing EQ, a good external compressor, a 808, a DP4, a chorus echo, an external reverb and some other random stuff that I add and remove when I want.
If you were to be lost on a desert island, what’s that one piece of equipment you’d take with you?
The Dave Smith Instrument Tempest, it is my absolute favourite. It took me some time to come to like it but now I don’t go one day without using it. I just love all the possibilities and that it’s (in some way) weirdly restricted.
What do you like most in life?
What pisses you off grandly?
People eating their sandwich upside down, it’s not meant to be eaten that way. If there’s an up and a down side it’s for you to feel all the different ingredients in your mouth when you bite it.
What is the last record store you visited and what did you bag there?
It was Mind Records in Finland and I bagged loads of local artists: Lil Tony, Trevor Deep Jr., Cari Lekebusch and of course Philus aka Mika Vainio.
Where can we find you in the coming weeks?
I’m in Australia right now and I’m touring for the next three weeks, but I’m basically playing every weekend so you can see me in a club somewhere near you.
Parametr Perkusja is released via DISK on 25th May, pre-order a copy from Juno.
A1. Dernier Metro
A2. Kosovo Hardcore