I saw you were performing somewhere in Brussels recently. What was it?
Yeah, it’s for sure quite illegal what I was doing. I went to a place where I have my music studio. There is a huge photo studio under it. I rented this space to build an “acousmonium” - a 20 speaker system and a sextuor (The UXY Dosing Orchestra) with Vica Pacheco on voice, Mika Oki on modular synthesizer, Giulio Erasmus on contrabass, Emile Barret on flute, Daniel Dariel on drum and me on trumpet, guitar and electronic.
I was specialising in the music of my LP through the “acousmonium,” and sometimes the narration went to the acoustic, jazzy, bossanova song with the Orchestra. It was like a live show but in a very small capacity with a maximum of 15 people. It’s a big space, and I’m glad that people respect the rules a lot. I did the show in 6 acts as in cinema or theatre. In contemporary art, there is a term “exhibition” which is always long-lasting and never a one-off. The music is the only medium where you have to do the concert in one shot. You did that, and it’s finished. I tried to find a solution with this virus and with my practice. So I decided to do it for a very small audience, doing the same act, but with different guest musicians like Vica Pacheco, Mika Oki, Remi Bragard, Emma DJ, Vincent Jehano, David Heilbich (Belgian Solution).
I saw you were performing somewhere in Brussels recently. What was it?
Yeah, it’s for sure quite illegal what I was doing. I went to a place where I have my music studio. There is a huge photo studio under it. I rented this space to build an “acousmonium” - a 20 speaker system and a sextuor (The UXY Dosing Orchestra) with Vica Pacheco on voice, Mika Oki on modular synthesizer, Giulio Erasmus on contrabass, Emile Barret on flute, Daniel Dariel on drum and me on trumpet, guitar and electronic.
I was specialising in the music of my LP through the “acousmonium,” and sometimes the narration went to the acoustic, jazzy, bossanova song with the Orchestra. It was like a live show but in a very small capacity with a maximum of 15 people. It’s a big space, and I’m glad that people respect the rules a lot. I did the show in 6 acts as in cinema or theatre. In contemporary art, there is a term “exhibition” which is always long-lasting and never a one-off. The music is the only medium where you have to do the concert in one shot. You did that, and it’s finished. I tried to find a solution with this virus and with my practice. So I decided to do it for a very small audience, doing the same act, but with different guest musicians like Vica Pacheco, Mika Oki, Remi Bragard, Emma DJ, Vincent Jehano, David Heilbich (Belgian Solution).
I always wonder how artists can stay sane during this time without having a space to perform and a source of experiencing music on stage. But I assume it’s been quite a productive time for you, especially if to talk about the new album UXY Dosing.
Exactly. But I started the research of the sonic palette of this LP around 2019. I really needed to find a new sonic palette, a new sound experience. So when the first lockdown appeared, I already had half of the LP. I started a long time ago, and it’s always deep research without a concrete deadline. Right now, I am recording a lot of acoustic music.
I noticed a huge evolution in terms of sound and your artistic representation if to compare UXY Dosing with Gag Flag and your previous LPs.
With Gag Flag, it was a break with techno and dark atmosphere. I like it, but I wanted to explore more pop music, which I was listening to when I was a teenager - the Residents, Devo, Max Headroom. With the new LP, I tried to explore new digital textures, but with an idea of maximalist music with a huge density. I wanted to keep the sound melodic and the concept of the album completely surrealist.
I find some similarities between your approach and the approach of the Residents and Devo. As I noticed, you also try to play around with seriousness and humor. It is also the reason why you decided to create Mr.Snippet back then, right?
Yes, exactly. To make a fake persona to sell music. I was inspired by Max Headroom, a presenter of a TV show. You know, the '80s were more about plastic; it was more theatrical. For me, the ’80s are more naive about everything, and I like it. Snippet Boy was a pop icon who was living, playing and selling the record. It was strange to incarnate this persona after two years.
I always wonder how artists can stay sane during this time without having a space to perform and a source of experiencing music on stage. But I assume it’s been quite a productive time for you, especially if to talk about the new album UXY Dosing.
Exactly. But I started the research of the sonic palette of this LP around 2019. I really needed to find a new sonic palette, a new sound experience. So when the first lockdown appeared, I already had half of the LP. I started a long time ago, and it’s always deep research without a concrete deadline. Right now, I am recording a lot of acoustic music.
I noticed a huge evolution in terms of sound and your artistic representation if to compare UXY Dosing with Gag Flag and your previous LPs.
With Gag Flag, it was a break with techno and dark atmosphere. I like it, but I wanted to explore more pop music, which I was listening to when I was a teenager - the Residents, Devo, Max Headroom. With the new LP, I tried to explore new digital textures, but with an idea of maximalist music with a huge density. I wanted to keep the sound melodic and the concept of the album completely surrealist.
I find some similarities between your approach and the approach of the Residents and Devo. As I noticed, you also try to play around with seriousness and humor. It is also the reason why you decided to create Mr.Snippet back then, right?
Yes, exactly. To make a fake persona to sell music. I was inspired by Max Headroom, a presenter of a TV show. You know, the '80s were more about plastic; it was more theatrical. For me, the ’80s are more naive about everything, and I like it. Snippet Boy was a pop icon who was living, playing and selling the record. It was strange to incarnate this persona after two years.
How could you describe this world?
When you eat Oreo, you feel this creamy feeling in your mouth, but without having the real taste of milk cream, simply because it is not, it is synthetic in fact. Through this topic, I created a new sound palette to create a new kind of electronic music - UXY Dosing (UD) or Maximalist Dance Music (MDM) for this album. I was lucky to be touched by the grace of Dextrose very young with Grandma, who offered me kindergartens surprises every Wednesday. The synthetic sugar and the state of maximum excitement it provides have influenced me quite a bit.
Could you explain what you mean by a new kind of electronic music?
I was thinking if I had to create a new style, then, for sure, this style needed substance to consume. For example, in reggae music, there is marijuana; in club music, there is ecstasy, etc. This new genre of UXY Dosing, Maximalist Dance Music (MDM), is about sugar.
How could you describe this world?
When you eat Oreo, you feel this creamy feeling in your mouth, but without having the real taste of milk cream, simply because it is not, it is synthetic in fact. Through this topic, I created a new sound palette to create a new kind of electronic music - UXY Dosing (UD) or Maximalist Dance Music (MDM) for this album. I was lucky to be touched by the grace of Dextrose very young with Grandma, who offered me kindergartens surprises every Wednesday. The synthetic sugar and the state of maximum excitement it provides have influenced me quite a bit.
Could you explain what you mean by a new kind of electronic music?
I was thinking if I had to create a new style, then, for sure, this style needed substance to consume. For example, in reggae music, there is marijuana; in club music, there is ecstasy, etc. This new genre of UXY Dosing, Maximalist Dance Music (MDM), is about sugar.
There is so much sugar! Sugar is everywhere. So I thought if people could eat a lot of sugar, they would dance a lot and have a sensation of power.
There is so much sugar! Sugar is everywhere. So I thought if people could eat a lot of sugar, they would dance a lot and have a sensation of power.
Sugar is vicious; you can buy it everywhere in very nice packages which people make to attract you to it. It was about this and the effect of sugar - it was a pretext to create this density and create a new genre that is completely fucked up because it’s not new. I like to go far from reality.
How did you actually come up with this?
I try to go far from a simple groove, like 4/4. I wanted to explore different patterns in the same music. I listen a lot to strange jazz music. Maybe it influences these types of songs because jazz is quite loose. I want to keep the music free, even if it's about electronics - to have different sequences, to have different moods - bright, dark, suspension of the note.
Sugar is vicious; you can buy it everywhere in very nice packages which people make to attract you to it. It was about this and the effect of sugar - it was a pretext to create this density and create a new genre that is completely fucked up because it’s not new. I like to go far from reality.
How did you actually come up with this?
I try to go far from a simple groove, like 4/4. I wanted to explore different patterns in the same music. I listen a lot to strange jazz music. Maybe it influences these types of songs because jazz is quite loose. I want to keep the music free, even if it's about electronics - to have different sequences, to have different moods - bright, dark, suspension of the note.
So is it literally the idea of “more is more” fighting against “less is more?”
I didn’t think about that. It’s more about why you need to do simple stuff when you can do complex things. I like to create a “total art” - from the concept to visuals, to general universe, to persona. I really love creating surrealistic worlds. I am always looking for different associations and feelings. I was looking for new sounds and a new persona - you can see that in my new press photos. It reminds me of Jamiroquai - very bright, a lot of movement, and the blue sky reminds me of surrealism. And I tried to catch this “flight” feeling when you are high on sugar.
I always try to explore the new territories to switch to completely different stuff. When I am going into this kind of research, at the end, I am very tired because I am trying to go far from my comfort zone. I am working a lot on this, but I love it.
I think you are one of those artists who does not try to stay in one niche, for instance, techno, reggaeton, or whatever. Though, you’ve been quite into industrial music for a long time.
That’s true. I deeply love music; I love playing instruments. I used to learn drums when I was a kid; I learned trumpet and bass; I am playing many instruments. I really love playing music, and there are so many genres to explore. You don’t have enough life to explore everything. It may be some kind of emergency that I feel in myself - to explore. I don’t want to be a specialist of any genre. I don’t care. There is conservatism in every genre of music - classic music, electronics, DIY stuff.
So is it literally the idea of “more is more” fighting against “less is more?”
I didn’t think about that. It’s more about why you need to do simple stuff when you can do complex things. I like to create a “total art” - from the concept to visuals, to general universe, to persona. I really love creating surrealistic worlds. I am always looking for different associations and feelings. I was looking for new sounds and a new persona - you can see that in my new press photos. It reminds me of Jamiroquai - very bright, a lot of movement, and the blue sky reminds me of surrealism. And I tried to catch this “flight” feeling when you are high on sugar.
I always try to explore the new territories to switch to completely different stuff. When I am going into this kind of research, at the end, I am very tired because I am trying to go far from my comfort zone. I am working a lot on this, but I love it.
I think you are one of those artists who does not try to stay in one niche, for instance, techno, reggaeton, or whatever. Though, you’ve been quite into industrial music for a long time.
That’s true. I deeply love music; I love playing instruments. I used to learn drums when I was a kid; I learned trumpet and bass; I am playing many instruments. I really love playing music, and there are so many genres to explore. You don’t have enough life to explore everything. It may be some kind of emergency that I feel in myself - to explore. I don’t want to be a specialist of any genre. I don’t care. There is conservatism in every genre of music - classic music, electronics, DIY stuff.
For me, the artist is the opposite of a specialist. I don’t want to be a specialist in jazz or techno. I prefer being an amateur musician. I think it’s important to keep yourself free from any rules; you can produce without being conscious of all of that.
For me, the artist is the opposite of a specialist. I don’t want to be a specialist in jazz or techno. I prefer being an amateur musician. I think it’s important to keep yourself free from any rules; you can produce without being conscious of all of that.
One month ago, I recorded a lot of South American sounds like bossanova, flamenco, and stuff. But it’s all coming from a fantasm I am having about this kind of music. I play a lot of stuff on guitar, and I find melodies and just interpret it myself. It’s very odd when I am looking for new music, new sound, without being pretentious. My best friends don't really understand what I am doing. It’s very hard to get support from people you love, for example. With this approach, it’s very very difficult and nervous. In the end, they may understand, but it’s challenging. Sometimes there is a lot of doubt, but doubt is a good thing.
One month ago, I recorded a lot of South American sounds like bossanova, flamenco, and stuff. But it’s all coming from a fantasm I am having about this kind of music. I play a lot of stuff on guitar, and I find melodies and just interpret it myself. It’s very odd when I am looking for new music, new sound, without being pretentious. My best friends don't really understand what I am doing. It’s very hard to get support from people you love, for example. With this approach, it’s very very difficult and nervous. In the end, they may understand, but it’s challenging. Sometimes there is a lot of doubt, but doubt is a good thing.
I find it interesting that you call yourself a "researcher," not a "musician." How does this research process is usually structured?
I do not have any routine about that. For example, with this new album, I tried to find a sound with more textures and details. I was looking at modular synthesizers, but I am not very much into this right now. So I was talking with Lorenzo Senni at the festival where we played together. I really loved the sound of Amnesia Scanner, and we were talking about that. He told me that they are working with this software, Kyma Pacarana. Do you know the robot "Wall-E" movie? All sounds were made in this software. I tried to find Kyma, but it’s very expensive. So I was looking on the Internet; I found one and learned to use it, to patch etc etc. You can generate sound, you can use it as effect only. You can do a lot of stuff, but it’s only on the computer.
I found the sound I was looking for. It is something like a copy of organic sound, but it is completely inorganic. So the process was like finding the right medium as if I was a painter deciding if to paint with spray or oil paint.
How does the organic/artificial quality of music is reflected in visuals? You collaborated with Jonathan Castro, right?
I have been spying on Jonathan’s work for a long time. He’s a real UXY Doser in the end. I often write directly to people whose work I love. With Jonathan, the feeling was mutual. So I proposed to him to help me create organic packaging (the one stuck on the front cover), but not a real organic texture. We had to capture a fake organic one. After a long call this summer, I gave him my logo, and he created this packaging and this fire circle behind it.
The thing with visuals is that they are very aligned with the music. So the aesthetics/design/video follows the main idea, with many different textures, like high digital 3D, that Laurent Allard created with the glass pipe logo and candy. For the back cover, I wrote something with my own writing in the second person singular to get something more "human."
What is inside the pill?
3 QR codes that give you access to the last three songs of the LP. These 3 songs are not pressed on the vinyl.
I find it interesting that you call yourself a "researcher," not a "musician." How does this research process is usually structured?
I do not have any routine about that. For example, with this new album, I tried to find a sound with more textures and details. I was looking at modular synthesizers, but I am not very much into this right now. So I was talking with Lorenzo Senni at the festival where we played together. I really loved the sound of Amnesia Scanner, and we were talking about that. He told me that they are working with this software, Kyma Pacarana. Do you know the robot "Wall-E" movie? All sounds were made in this software. I tried to find Kyma, but it’s very expensive. So I was looking on the Internet; I found one and learned to use it, to patch etc etc. You can generate sound, you can use it as effect only. You can do a lot of stuff, but it’s only on the computer.
I found the sound I was looking for. It is something like a copy of organic sound, but it is completely inorganic. So the process was like finding the right medium as if I was a painter deciding if to paint with spray or oil paint.
How does the organic/artificial quality of music is reflected in visuals? You collaborated with Jonathan Castro, right?
I have been spying on Jonathan’s work for a long time. He’s a real UXY Doser in the end. I often write directly to people whose work I love. With Jonathan, the feeling was mutual. So I proposed to him to help me create organic packaging (the one stuck on the front cover), but not a real organic texture. We had to capture a fake organic one. After a long call this summer, I gave him my logo, and he created this packaging and this fire circle behind it.
The thing with visuals is that they are very aligned with the music. So the aesthetics/design/video follows the main idea, with many different textures, like high digital 3D, that Laurent Allard created with the glass pipe logo and candy. For the back cover, I wrote something with my own writing in the second person singular to get something more "human."
What is inside the pill?
3 QR codes that give you access to the last three songs of the LP. These 3 songs are not pressed on the vinyl.
And what idea stands behind the video?
The video is more about the effect of sugar and the sound of the track "Serenade to a Gelatine." I think it’s the most techno-ish track of the album. And you know this pipe, a plastic pipe, was my logo in the beginning. It was all about this substance and the effect of this substance. You can see candies, chocolate on the wall. You can see all this stuff.
Sugar is a substance that gives a huge effect. I don’t have every key to this album. It's very surrealistic, and I don’t take it too seriously. I don’t want to be serious with music. Of course, it’s serious for me, but I don’t want to give this sensation to others.
You were talking about the idea of "subverting the music industry." I see UXY Dosing as a logical continuation of this approach. Did the album have a specific message for the music industry? How did you approach the conceptual part from this standpoint?
I guess there are many messages that I have absolutely no control over. That’s why it’s interesting to spread an LP to the public as diverse as it is varied. I mean, I don’t have all the keys to this album. For sure, I like twisting ideas inside a common rational one. Here, it’s about the club music industry.
And what idea stands behind the video?
The video is more about the effect of sugar and the sound of the track "Serenade to a Gelatine." I think it’s the most techno-ish track of the album. And you know this pipe, a plastic pipe, was my logo in the beginning. It was all about this substance and the effect of this substance. You can see candies, chocolate on the wall. You can see all this stuff.
Sugar is a substance that gives a huge effect. I don’t have every key to this album. It's very surrealistic, and I don’t take it too seriously. I don’t want to be serious with music. Of course, it’s serious for me, but I don’t want to give this sensation to others.
You were talking about the idea of "subverting the music industry." I see UXY Dosing as a logical continuation of this approach. Did the album have a specific message for the music industry? How did you approach the conceptual part from this standpoint?
I guess there are many messages that I have absolutely no control over. That’s why it’s interesting to spread an LP to the public as diverse as it is varied. I mean, I don’t have all the keys to this album. For sure, I like twisting ideas inside a common rational one. Here, it’s about the club music industry.
It’s probably the most club music I’ve made, but at the same time, it’s a mess for a DJ to beatmatch or to catch a dancefloor with most of the song in there. Going against a common idea from this abstract "club music industry" just to cause accidents or conflicts inspires me.
It’s probably the most club music I’ve made, but at the same time, it’s a mess for a DJ to beatmatch or to catch a dancefloor with most of the song in there. Going against a common idea from this abstract "club music industry" just to cause accidents or conflicts inspires me.
I don’t care to be in any game. I know why I'm making music, and it’s not to be a part of anything. As Tonton says, “Fuck’em all and feed ’em fish!” But with love. Like imagine you’re dancing on a carpet in a club, and sometimes a Farfadet [an imp, a sprite] quickly removes the carpet from under your feet to make you fall to the ground.
What tools of manifestation of your creative vision do you find powerful now?
It’s just about a feeling and curiosity I have about something at a period. I’m not trying to seduce anyone or anything. I want to surprise and stimulate myself. And for that, I need to explore new things like music genre, collaborations, learning instruments, moving on. When I get what stimulates me, I try to raise awareness and lay out what I can get out of it. Both technically and artistically. Then digestion goes naturally. I guess it is about analyzing what really touches you and why someone’s work inspires you. It's a nice exercise to not become just a copycat, but to find your own approach and touch.
I don’t care to be in any game. I know why I'm making music, and it’s not to be a part of anything. As Tonton says, “Fuck’em all and feed ’em fish!” But with love. Like imagine you’re dancing on a carpet in a club, and sometimes a Farfadet [an imp, a sprite] quickly removes the carpet from under your feet to make you fall to the ground.
What tools of manifestation of your creative vision do you find powerful now?
It’s just about a feeling and curiosity I have about something at a period. I’m not trying to seduce anyone or anything. I want to surprise and stimulate myself. And for that, I need to explore new things like music genre, collaborations, learning instruments, moving on. When I get what stimulates me, I try to raise awareness and lay out what I can get out of it. Both technically and artistically. Then digestion goes naturally. I guess it is about analyzing what really touches you and why someone’s work inspires you. It's a nice exercise to not become just a copycat, but to find your own approach and touch.