Bleep Interviews Thomas Muller
+ You were born and raised in Paris, what would you say are the most fascinating differences in clubbing and electronic music between the French capital and Berlin, where you now reside?
The first main difference are the parties are almost endless in Berlin , In Paris after 4:AM , people have to go back home.
Most of the club scene in Berlin goes deeper conceptually, for example Berghain , there are no mirrors, pictures are forbidden, forget what you look like…A Serious Concept , A Serious Team …
There is not really after parties in Paris. People are younger in the clubs in Paris.
More privacy, More freedom in Berlin . Techno Culture is different . Culture in itself is different.
I invite everyone to visit Berlin , however I wouldn’t say that one is better than the other.
For example , I played the 22th august at a Social club for Get the Curse a very talented promoter , It was really nice , I had lot of fun , I found a fresh energy in this club, in this party, something I couldn’t find or maybe I would not be looking for in Berlin .
Same for Rex Club , when I played there a few months ago with Ellen Allien and Okain . Big Party!
But no damn after party… I remember also the Scream party in Elysee, Montmartre it ahs been over 4 years since something like that, Weird, crazy and totally original.
+ The Dimuschi Parties you set up with Paul Ritch in Paris sound amazing, tell us a little more about them…
Dimuschi is a concept from Laurent Baylet and Patrick Bamberger, We met each other by a communal friend, Sandra. They did the last one 3 weeks ago and I guess they are working on something new. They look for a different place for each party.
I played the one under the Alexander III bridge (next to Champs Elysee) , with my friends Paul Ritch and Okain . The after party was on their friends boat right opposite, on the Seine. 50 people joined the after party, the last veterans. No police this day, I remember there was a football match on television or something …
The night was really special, something that doesn’t happen so often in Paris .
+ What attracted you to sign for BPitch Control?
Bpitch Control is a big label. I was looking for a label with whom I could build a close relation with, to work and stay with for a while. I met Kiki first and Ellen and Sascha Funke and we became closer.
Bpitch control is really a part of Berlin , when I arrived here in Berlin, 18th may 2007, right from Paris, I was really seduced by the city, excited to deeper understand the culture, and to work with real Berliners . It was hard to know where to go as a young artist. Finally we decided to work together, they accepted me, and now they support me to go on this way.
One thing really strong with BPC is this multi music style; it gives me freedom for my future project. Thinking about the concept of my first album, bpitch give me many inspirations, like Berlin !
+ When constructing a track for the floor, where does your primary sensibility lie? in the making of rhythm or melody?
About this question, I would like to answer short. The beat make the people moving their ass, the melodies make them dream.
+ What do the words minimal techno mean to Thomas Muller in 2009 and beyond?
2009, the year of the crisis ? In contrast, globally this years minimal brought to techno more air , more breath . I remember the sets of Jeff Mills, Carl Cox, Dave Clark, and many more 5 years ago it was super fast, short transition, cut on the X-fader , cut bass , boum bim boum bim boum, reverse scratch on the vinyl , bass on , arms up !
These days minimal techno uses big sub sounds for feel, you can ear the groove of the bassline under the rest of the drum. The FX processing has more time to push the people, it’s a kind of progressive music much more than the techno.
I think the minimal concept brought to every style of electronic music one new aesthetic ; It’s the reaction against the synthesizer from the nineties .
What this word means to me, it just seems to be the music I produce; I’m not a hard activist of minimal techno. First, because it’s just an evolution and second, because, these days everything moves so fast. We can easily get confused.
Whatever, I strongly believe in electronic music, I like to create music without any solid musical instrument , just direct from my mind , virtual to virtual , my mind to there mind by sound waves . I LOVE IT. I like to create the music from beginning to the end, to understand what happens at every step in the process of building a track. DJ Koze and Riccardo Villalobos for example have a particular aesthetic that remembers Cubism . Their sounds are not always balanced; sometimes it’s purposefully too bright. It doesn’t follow the classic mixing rule that I once learned in my sound engineering school. Electronic music is still young, I’m happy to be an actor of this movement !
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