Coffee Break with Remcord
A career which has spanned over 11 years, Remcord has proven himself as both a DJ and producer whose professional life is impressive as it is colourful. His personal catalogue bears presence across labels such as Siamese, ATLANT, Bedrock Records and beyond, proving his coat of badges are not drenched in just one shade of the rainbow. And now, to add to the latest shade of 2021, the French DJ has filled the void in our eyes with his latest EP, ‘Alfortville’, released on his very own REBA imprint. Lucidly packed with a sharp bite, this is a release which resonates in line with his label – memorable, meaningful and with a strong sense of freedom running straight through its soul. And yet, for an artist who seems to do so much by himself, he also has time to share decks with friends and other artists, and most importantly, he’s also been able to squeeze some time in talking to us and telling us all his secrets and much, much more.
Hi there Remcord, thanks for joining us today. What have you been up to over the past few days?
Hello to you diggers! The last few days were like the ones before :) - a sweet mix of exploration in the studio, unexpected cable patch, chill and BBQ .
You began producing music just over ten years ago – in 2010 to be exact. What led you to creating your own music? Has this transformed into your full-time job or are you still keeping it as a hobby?
Before I started playing electronic music, I had several band experiences where I played drums. Trios, bigger bands, but always the same thing: I felt limited in my creative desires and it was sometimes difficult to fit in everyone's time. In the same period I became interested in electronic machines. I quickly saw the possibility to be free to make music when I wanted and to follow my desires. Since my first EP in 2010, I would say I have experimented a lot: I have let myself be carried by my desires of the moment and by my influences that evolve over the years.
I'm lucky enough to do nothing except music and to be able to live completely with it for over five years now. I help out with some projects and also do some mixdown to be able to live all year long and keep my artistic freedom on my personal projects. It also allows me to continue to exchange, share experiences with other people and not stay alone all the time in the studio.
As well as your solo productions, you have also collaborated with artists such as Roze (aka Juan), Bog and a few others. How do you find collaborating with other producers? Have you ever considered becoming a duo with someone else?
I love jamming with friends! If there is one thing i miss from my past band experiences it's really sharing music and time together with people. When the opportunity arises i'm always willing to jam with friends.
I created a side project in 2015 with my friend Stefan Helmke (Hanne & lore). We started by creating a vinyl only label 'NO-MO' where we released tracks without name,artist name, without social, 300 copy limited (a bit alternativJ ).
Then we converted to a project to create a full hardware live under the name 'RE-ST'. It's a pleasure to share the stage with my dude every time we perform on stage.
In 2019, you began your own imprint, REBA. What were the top reasons for you setting up the label and what do you consider is ‘the key’ to its success? What would you say is the main identity of the imprint in your own eyes?
My main motivation for creating REBA was really my desire for freedom. I wanted to be free to release the music I wanted, when I wanted. I'm aware it's sometimes difficult for some labels to project themselves into releasing music which is a little less accessible on the dancefloor. I was a bit frustrated to have to fit in some codes to be able to release my music. So I decided after ten years of releases on other labels to create my own. In my point of view, the key to success is to continue to make music without expecting anything in return. When it's honest and comes from the heart, people feel it.
I like when music is full of textures, when it grooves and hovers at the same time, so I would say that REBA's identity is close to that. For the moment it is rather intended for releasing my music but when I receive tracks I love, then the heart speaks first. This was the case for the track 'XXX' from Ovend and the beautiful track from Omer Bar and Liad Douk - both part of REBA 004.
In March you released ‘Alfortville’ on REBA. Could you tell us a little bit about this EP?
I still have a hard time putting words on my music to describe it but I'll try. I usually name my tracks since a few years with references to our dear green friend. For Alfortville EP I made an exception. I moved and built a new studio a year ago, and to remember the first track I composed in this new lab I named it after the city it is located. A new technical memo and the track Alfortville were borne!
On the music side, the track I prefer on REBA 006 is 'Wook'. I almost always like the ‘B’ side tracks more than the main tracks of my EPs, probably because they are more personal and intimate.
Speaking more specifically about your own productions, can you talk us through the process of creating your own, unique style? What do you consider are the recogniSable attributions of your tracks which makes them instantly known as your own?
Exploring is the key word in the studio when I turn on the machines. I plug and unplug cables, try to create errors and look for analogue textures - modular synthesizers are perfect for all this. I always start from a blank page, no template or preconceived idea. I like to take the time to build each element but also like the idea of deleting them after a few days because they don't suit me anymore. I also like the fact of making pieces which will never be released. From the moment I finish, I already know it won't leave my computer, but I'm happy because they’re part of my creative process.
I use the tools I have at my disposal and try to get the most out of them. The Roland Sh 101 is probably still my best friend for the melodic and deep elements of my tracks, but it is getting more and more challenged by my growing modular system. I can't take my eyes and hands off it anymore! At the moment I also use a lot of the Tanzbar for groove, the old/cheap MC303 for fx/layers/pad and the new TB303’s clone for bass.
And for the recognisable attributions? Good question! People often tell me that my tracks are recognisable in the first few seconds but I still haven't understood why. Maybe it's because I always start my tracks with very smoky jams :).
Who was the first big artist to play one of your tracks, and how do you continue to grab their attention to keep playing the music?
I think the first huge and influential artist was Solomun, with the track composed with my friend BOg - 'The Rest Of Us' - released on Monaberry. Then Tale Of Us played 'Koto' during their live show for Cercle and then things naturally happened between us. Since that day I share with them the tracks I export and I'm really happy to see the reactions of people every time one of these artists plays one of my tracks.
EMPTY SUPPLY was a major success last year. What was your main inspiration to create it?
First of all I have to say I’m really grateful for all the feedback received on this track <3! Apple music put it in their ‘Official Techno Playlist’ for several months and that made me even happier because it was a special track for me.
I wanted to make a synthesizer line which wasn’t repetitive, but at the same time didn't diminish the energy of the groove. I spent several days looking for a lead which would match the elements I’d already composed - and the structure - and during a long night in the studio, the magic happened: I made a lead line I probably wouldn't be able to do again. I recorded it straight away and went to bed. The next morning (at 1pm :) ), I went back to the studio, rolled the last tube available and listened to the previous night's work. I was surprised and directly under the spell. ‘Empty Supply’: a new track was borne, probably my favourite to this day.
During this very strange past year and a bit, did you focus more time on making music? Has your day-to-day routine altered in any way at all?
I would say I didn't necessarily make more music than before this period. The first few months were difficult, I had a hard time concentrating in the studio and extracting myself from all the daily information. I reckon between March and July 2020, I must have composed less than ten songs, and none of them suit me currently when I listen to them...
My body was there, but the heart was not really present… The uncertainty was also hard to handle and so I had a hard time letting go of it all.
It didn't really change my routine though because I spent a lot of time in the studio before the pandemic. But on the other hand, the lack of social interaction is not easy to manage, I miss feeling the energy of people, to see smiles and to feel surrounded by people who share the same passion for music. I hope the worst is behind us.
Talk us through your PROJECTS/GOALS for the current year and beyond.
During this particular period, I took the opportunity to explore new paths for myself. I had a fantastic artistic encounter with an American singer, Ivan Theva. I'm not normally a fan of electronic music voices, but I clearly fell in love with this singer and his voice. So, I made two tracks with him, released in June on REBA. I’m very excited to share this new EP with you as it’s really new for me! Fur Coat completes the EP with a remix which adds a deeper techno colour. For the first time I'm also embarking on a video project, which accompanies the first track of my label’s seventh chapter.
I also want to rebuild a brand new live show when club nights resume, which I hope will be this year (stay positive).
Aside from the melodic genre, what other music do you listen to?
As a true nature lover I like to listen to roots reggae preferably - any kind of dub - from the most classic to the most techno. When there's a tape echo I answer present :). I also like to listen to old rap, a good Nas always puts everyone in agreement. In a more general way, I would say that all warm and groovy music speaks to me, from Buena Vista Social Club to System Of A Down.
A few years ago I started a dub techno vinyl collection, it's not big at the moment (less than a hundred records), but all the records I've been buying for the past five/six years are dear to me and I listen to them regularly.
We almost forgot! How do you like your coffee?
I don't drink coffee, I'm from the hot chocolate school :).