Today we treat you to the very special video premiere for Electrosexual‘s new single Tempelhof. Sci-fi and Film noir inspired, the video is directed by French collective Make if from scratch. We caught up with Electrosexual to talk about the video ans his upcoming album Art Support Machine.
Last time we spoke, you were about to launch the Tempelhof single at Naherholung Sternchen and Le Pigallion, how did those gigs go?
These were two distinct experiences. The Berlin release party was a showcase night where I performed the songs from the new single and the upcoming album live for the first time. It’s an interesting moment when it comes to presenting your music live, especially for electronic music. The creative process is almost as intense as building a new song. I love the freedom that it brings. I organized the event in a familial kind of spirit and I invited musicians that I feel close to, Henning Specht (from the band Hypnolove) and Oceane Moussé, Local Suicide and Andrew Claristidge from Acid Washed.
The following night, I presented the single in the infamous Le Pigallion (formerly Folie’s Pigalle), one of the most extreme Parisian after-parties venue. I played a Techno set alongside David Carretta, it was pretty wild. I want to thank the SAVE crew who are organizing some of the best events at the moment and who are bringing Parisian nightlife to a next level!
How’s the feedback about the single been so far?
The single has been receiving fantastic and strong support especially from the Techno scene. I received support messages from my favourite idols: Laurent Garnier, The Hacker, Slam, Hard Ton, Alexander Robotnick… It seems that the remix is being played a lot. I am really grateful for that!
On Tempelhof there’s an interesting remix by David Carretta. How did you guys get involved? He’s had an influence on your work for a while now right?
Yes, he really gave the track a new sci-fi soundtrack dimension. It is a very inspired remix with a lot of old school references.
David has been a friend for more than a decade now. I can say he is my godfather as he really supported me in the early days of my music making. He was the first one to ask for more music when he listened to my demos, and when I remixed his track Lovely Toy in 2006 I felt very proud to appear on a vinyl together with two other French Techno pioneers that I adore: Kiko & The Hacker. At that point I knew that I’d dedicate myself to Electronic music.
Regarding the video for Tempelhof, how did you come up with the story? It’s the second time you work with Make it from scratch, who exactly are they and how did you start working together
As the track is a completely instrumental piece, I wanted the video to be very narrative. Last year, I teamed up with Make It From Scratch for the Demolition video and they showed a special talent in building a very daring story inspired by the music. We talked about my intentions for this new piece and Guillaume, the director, came up with strong images of a Film Noir taking place in a deserted village named Tempelhof. A modern sci-fi thriller.
You’ve said previously that the song is entitled Tempelhof because you were hanging out in the airfield a lot during the composition of the album. What is it that you find interesting about that place?
Yes it was inspiring to listen to the demos and unfinished tracks in the very center of the deserted parc. It is a fictionesque environment. For me, Tempelhof represents a positive and symbolic reappropriation of an abandoned iconic building in a heterotopian way (a physical representation of a utopia) . It is also a reappropriation of the past as a vision of the future as well as a blank canvas.
Your videos are always interesting, they’re very different but there is some sort of binding element, a dark touch and they all feel quite … French … Tempelhof and Demolition particularly remind me of Gaspard Noé’s Seul contre tous (I stand alone)…
Ah ah, i love the Frenchiness of my videos. I guess they tend to be more and more cinematographic with psychological elements. I like how far you can go with a video: either develop or simply bypass the story of the song. I used to direct most of my videos but I am too involved with the song and too illustrative. I like the fresh vision of a foreign eye.
You are also preparing a video for Crystal flesh, the b-side of Tempelhof?
Yes, George Griefy a young photographer from Greece shot a very contemplative, aesthetic and evocative video for the vocal version of the song. It features Olina Haroni and will premiere next week. The song is about a special moment of metamorphosis, an inner mutation, a sort of chrysalis… In both tracks there is definitely the common idea of a new skin, a new envelope: on one side the ideal reappropriation of the abandoned building for Tempelhof and on the other side, the subtle mutation of the human body into the android in Crystal Flesh.
When is Art Support Machine dropping and what can we expect from it?
Art support Machine is my debut album and it will be available on the 2nd of June. It is a concept album about machines and their human side, their soul, their identity, sexuality and gender as well as their dreams. At the moment I am working on the manufacturing of the vinyls, CD’s etc…
You’ve got some interesting features on there haven’t you?
I invited two very special vocal guests on this album. Two divas. Hanin Elias (from the band Fantôme) is singing on the next single Automatic People. It is a song about empty-souled people acting like robots in their everyday life. They can only feel who they really want to be in their dreams. Hard Ton are also appearing on the track I’m Your Machine, a sexy song about the machines’ fantasies. They recorded a fantastic vocal hook and a dope TB303 bassline.
Will there be any remixes coming out with the album?
Remixes for Automatic People are on the way!
And what are your next gigs and releases?
I will be performing live in Bordeaux next week for the Cinemarge Film Festival closing Party. I’m also planning a series of shows in Spain next month and I will be doing a release party for the album in may in Barcelona’s Apolo.