Pluie/Noir Podcast 013
Sound by Pheek.
Visual Interpretation by Nicolai Sarbib.
Video by Max Binski.
Pluie/Noir Podcast is a bi-monthly audio-visual episode representing our work as an artist collective. Each episode will feature a one hour collage/mix by one of our producers/djs and a poster triptych by one of our designers.
We interviewed both artists and dropped some questions about their vision:
Mr Pheek, how have you been?
:: Writing you back from the beach, as I'm currently on vacation, fuelling up on energy for the second stretch of the year. I've been really busy all year until now and also, coping with trying to fit my music activities with a full time job that I now have. That forced me to be extremely creative on my time use.
You have been somehow related to this project and Cleymoore's plans since the start, it's nice having you in our podcast series at last. How do you feel about pluie/noir, your podcast submission and the way you recorded did it?
:: When Cleymoore joined Archipel, we started exchanging a lot and chatting about music, eventually becoming friends so when he started his label, it made sense for me to be part of it, somehow. His tastes and also, the people who he surrounded himself with, made me feel like I was part of a creative team. When he started his podcast series, he asked me if I wanted to do it and I thought it could be something inspiring because of the format of the project. I receive a lot of podcast requests but its rare that you'll see so much commitment in the presentation.
So far, all P/N's podcasts were more atmospheric or experimental and I have to say it is the first time I work on something and gave myself some pressure about it. It's also the first time I had to redo the mix multiple times before getting to something I thought was satisfying.
What listeners need to know is, I really approached my mix as a whole and even if the end result doesn't feel like experimental, the craftsmanship behind it is. But in techno, this is rarely seen or recognized unless you give it a proper listening. I really worked on making something repetitive and loopy, to give the mind spin feeling. One where you question what is next. I think it worked.
Archipel managed to survive and be consistent throughout the years. With the rebirth of the sub-label Kalimari Musique and Archipel Soundtracks, you seem busier than ever. How's the music industry treating your projects lately?
:: I stopped caring about that aspect of music because when I did, it was depressing me. Nowadays, I came back to the very first mission of the label which is building bridges and a community of friends before the music. The netlabel feeling is more than ever present for me but I now just manage things differently. The way I see Archipel and Kalimari are a very personal presentation of music I believe in. It's sort of my "private wine collection I share to the world." With that approach and seeing it as a hobby, it gave me wings to work more. With the approach of the 100th release, I got a kick of energy as well.
Soundtracks is the opposite approach which to me, is how a label should be. Artists are chosen and asked to build something out their control with barriers that guide them into freedom. I feel it's a trip and exploration artists will have. That project format really drives me but it's just frustrating to depends on others to make every technical details work. So I guess it will be a work in progress over time.
It's been almost 2 years since your latest album "Channeling Worlds/Cycles". Is there a new one on the way? And about your side-projects and collabs?
:: Yes, like I said, with time lacking, I work extremely fast in a slow way (eg. about 15 minutes a day to work on music(!)). So I have an album that has been sketched out in the last 6 months but it is really in need of polishing. I feel like I want to make something less experimental, more approachable and mature at the same time. That demands to work on a track blueprint and let it sit for weeks before going back in, adjust a tiny details and wait again. It will take the time it takes.
I also have EEBB with Hubble that is on my mind a lot these days. We received overwhelming feedback from everywhere about the recording of our live show in Montreal. It even got us a booking in Ukraine. I feel we have something there and that will demand proper work.
:: Over the years I really have made all the goals I had set back in early 2000's when I started. I'm often questioning what's next. I think it's all about remaining happy at what I do and work on making some magic happening, because that's what we're all looking for I believe.
The newest entry to the collective. How are you feeling?
:: Feeling pretty good, thanks. In need of a vacation though.
Art seems to take a big chunk out of your timeline. What do you do for a living?
:: Nowadays I seem to be doing a bit of everything… I'm a "rogue" graphic designer, after having the experience of working for the big ad company league I quickly decided I wanted to dedicate more of my time to music and other artistic pursuits. Right now I balance my day to day between deejaying, freelance design work and an array of projects I seem to fall into.
Pheek's submission dealt with his own & Archipel's vision on music. How was the experience of making an interpretation of a podcast in graphics? What can you tell us about your triptych?
:: It was a great experience, in a way Pheeks mix struck me as a trippy journey into sound that really built a landscape in my mind.
I'd just gotten back from Oporto and a really intense weekend, trying to come up with the triptych I went down a kind of creative spiral of nothingness and at the end I realized I wanted to create some sort of visual pattern of evolving repetitiveness and the idea of some kind of vortex or expansion that are the elements that strike me on this kind of soundscape.
What were your latest activities in both art exhibitions and music-related events?
:: So recently just got back from Oporto where I was invited to participate in a truly great art project called "Troca-se por arte", in which different artists are invited to create pieces that are then displayed in different shop windows of traditional shops in the city's downtown area. Was a unique chance for me to do something totally outside my usual comfort zone.
This year has been pretty great in that aspect, I've had quite a few chances to be involved in interesting projects, like composing the soundtrack for João Pedro Vale and Nuno Ferreira's art movie "Rei dos Gnomos" that was shown in Guimarães as part of the european capital of culture, later in São Paulo and now finally in september will finally get screened in Lisbon as part of the Queer cinema festival, all wrapped up in an insane theme party I'll also be playing records at. In between all this and the graphic work that tends to come my way, weekends have seen me pretty busy with DJ gigs.
This year I've been fortunate to play at some great parties including a mind blowing 10 hour rave in Berlin, some amazing nights next to Dexter at Lux and the regular nights with live acts and Djs that have been put together by Fungo a collective I'm also proud to be a part of.
Musically things are picking up… this year finally I have a couple of releases coming out, a 12" on Discos Capablanca headed by Hugo Capablanca in Berlin and a few tracks on some compilations that will be out real soon together with some real musical and artistic inspirations, even a certain David Lynch I heard…
What's next for 2012?
:: Up next I intend on putting more time and focus on music and producing side of the spectrum… everything else that just seems to happen usually comes as a surprise to me and hopefully time will continue to take me to unexpected interesting new areas, thats what really keeps things going for me.