Studio Masters: Etienne De Crecy

Whether you’ve heard his name or not, Etienne De Crecy is an electronic music legend. Back in the early 90s, he and a young Phillipe Zdar (who later formed Cassius) found techno and began making music as Motorbass. That collaboration would eventually flesh out techno funk LP Pansoul, which is now considered an anchor for that potent era of electronic music. Alongside Alex Gopher and Air, Etienne De Crecy spawned the Super Discount compilation, which captured the early aesthetics of French electronic music. It’s these sturdy foundations that have provided the blueprint for the “French Touch” movement Ed Banger and later Clek Clek Boom would build upon. Now working by himself, Etienne has developed a live show that features him performing from the centre of a cube that’s synchronised with his various know twiddles and button pushes.

We caught up with him in his studio to find out how he works, along with some questions about the musical legacy he has formed for himself.

Hey! So, even with software being so widespread these days, what’s behind you continuing to use hardware equipment for making music?

I started making music with old school hardware; I remember having an Atari 1040ST computer and Cubase, which only managed MIDI. Hardware was mandatory. Today I continue to work with synthesisers and rhythm boxes for the creation phase because I find it more fun to plug in jacks and push buttons.

Is collecting all of these modules an addiction?

I think it is more of a passion rather than an addiction, although I am pretty geeky when it comes to these things. What I want is to create the experience of going to a live show with the gear that I use.

So do you feel that using a laptop is a burden rather than advantageous?

It is definitely a lot more fun being surrounded by all this hardware on stage and there's also an element of improvisation and going with the flow. A laptop allows you to program everything in advance, creating the perfect show. A perfect show without danger is kinda boring really.

With regards to house as a scene, it's seen a renaissance again in the last year or so in a mainstream sense. What's your opinion on the current direction of house music?

Electronic music regenerates constantly reusing its own codes. I really enjoy what young house producers are doing; they have the freshness and simplicity needed to make this music. That's more difficult for me as my knowledge and experience feels like a handicap when trying to make a good house track. God, I'm showing my age!

Call it maturity. In the video, you showcase "The Cube" which you've been using as part of your visual show. Have you always wanted to keep it as 8-bit as possible or is there a probability of you changing the look of the visuals in the future?

The design has changed, I have worked with Alex Courtes for the implementation of the second version of the show, integrating more sophisticated graphics and 3D.

Do you think the use of your Cube has made your performances more theatrical?

Definitely, I'm pretty quiet, and I use the Cube to attract the public's attention on something else other than me!

Is that something that you feel is missing from too many live performances?

I think electronic musicians have made great progress in their live performances as they now bring a lot of productions on stage. But I often find that the productions are used randomly, and it is rare to see a structured and aesthetic show.

That’s very true. So what's the best visual live show you've seen recently?

Daft Punk's pyramid was a true inspiration, they were the first electronic musicians to provide a visual show…after Kraftwerk!!!

When you look back at your discography, are you happy with where you are and what you've achieved?

I am easily happy.

Ahh, that’s nice. Thanks Etienne De Crecy!