Two years after the French funkmeisters unplugged, the electro legend is releasing his first new material – a ballet score. He explains why working with ‘real live humans’ was scary
The Tron score was in post-production for months after an intense four-day recording session, yet the process for Mythologies was “even crazier”: the orchestra had just two days to rehearse before the premiere at the Opéra National de Bordeaux. “It is definitely the opposite of electronic music-making, when you can do things on the fly or work for months on production,” he says.
Did the future lose its allure at some point? “It’s interesting,” he ponders. “You either have the content or the form. Every artist wants to create their own little revolution and try to do things that haven’t been done. That’s kind of the punk aspect. But you ultimately become a caricature of yourself once you succeed.” The point, he says, is to do something different every time. “It works in opposition. These robots, they’re like the glorification of technology.
As a father to sons aged 14 and 21, Bangalter is only too aware that we’re living through a wave of nostalgia for the 90s – a golden era for French club music, when artists such as Étienne de Crécy, Alan Braxe and DJ Falcon were filtering vintage loops into euphoric nu-disco nuggets. “It was an amazing time,” he reflects. “I was 20 in 1995.
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