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Gershon Kingsley

Gershon Kingsley

Photo: Bettmann/Getty Images

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Electronic Pioneer Gershon Kingsley Dies at 97 gershon-kingsley-electronic-music-pioneer-and-composer-dies-97

Gershon Kingsley, Electronic Music Pioneer And Composer, Dies at 97

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Kingsley's trailblazing work helped popularize synthesizer-based music and made electronic music more accessible to mainstream audiences
John Ochoa
GRAMMYs
Dec 16, 2019 - 2:11 pm

Gershon Kingsley, widely regarded as one of the premier pioneers of electronic music and an early champion of the genre's defining synthesizer-based sound and technology, died Dec. 10. He was 97.

https://twitter.com/GershonKingsley/status/1205478830976196608

From the family of Gershon Kingsley: Gershon passed away peacefully in his sleep on the morning of December 10th, surrounded by loved ones at home.

— Gershon Kingsley (@GershonKingsley) December 13, 2019

While details surrounding the cause of his death have yet to be released, his family confirmed the news in a post shared on Kingsley's Twitter page, stating, "Gershon passed away peacefully in his sleep."

Read: Marie Fredriksson, Singer For Roxette, Dies at 61

The Bob Moog Foundation, the namesake nonprofit of the Moog synthesizer inventor, shared the organization's condolences on its official Twitter page, calling Kingsley a "pioneering synthesist and legendary composer."

https://twitter.com/MoogFoundation/status/1205583450134208512

We are saddened to share that pioneering synthesist and legendary composer Gershon Kingsley has passed away. He was 97 years old.

Our love, respect and condolences go out to his family and loved ones.He will be deeply missed. #GershonKingsley #FirstMoogQuartet #MusicToMoogBy pic.twitter.com/Dfnb63fWKj

— Bob Moog Foundation (@MoogFoundation) December 13, 2019

Kingsley, born Götz Gustav Ksinski in Germany in 1922, is best known for his 1969 instrumental track "Popcorn," featured on his debut solo album, Music To Moog By, released that same year. He rerecorded and rereleased the track in 1979 with his band, First Moog Quartet, and again in 1972 as The Popcorn Makers.

Widely considered one of the first-ever electronic hit singles, "Popcorn" became a surprise smash when Stan Free, who was part of Kingsley’s First Moog Quartet, rerecorded the track with his band Hot Butter. Released in 1972, and featured on the band's self-titled album that same year, the Hot Butter version of "Popcorn" became a top 10 hit in the U.S. and the U.K., in addition to topping the charts in Australia and across Europe.

Artists like Herb Alpert, Muse, Jean-Michel Jarre, Aphex Twin, and The Muppets have since covered the track. A 2005 version of the track from Crazy Frog, the popular CGI character used in various advertising campaigns from ringtone provider Jamba! (Jamster), was certified diamond status in France.

Prior to his solo career, Kingsley was a member of the trailblazing electronic music duo Perrey and Kingsley, alongside equally influential pioneer Jean-Jacques Perrey. Their seminal 1966 debut album as a duo, The In Sound From Way Out!, is largely credited for making electronic music more accessible to mainstream audiences and is considered a groundbreaking release within the genre for its use of technologically advanced production techniques. Their 1967 track "Baroque Hoedown"—featured on their second album, Kaleidoscopic Vibrations: Electronic Pop Music From Way Out, released that same year—became the soundtrack to the Main Street Electrical Parade show used across Disney's theme parks.

Beyond pop music, Kingsley was renowned in the musical and Broadway worlds. A two-time Obie Award winner, he received a Tony nomination in 1958 for Best Musical Direction for his work in the Broadway hit, "La Plume de Ma Tante."

Kingsley's work also extends into the TV and film industries. He won an Emmy Award for his music for "A New Voice In The Wilderness," in addition to winning a pair of Clio Awards for his music in TV commercials. He also composed the theme music for several game shows, including "The Joker's Wild" in the U.S. as well as multiple German shows.

In his later years, Kingsley experimented with electronic New Age music in the '80s, in which he implemented early digital synthesizers, and composed works for musical, opera and theatrical performances and concerts throughout the '90s.

In the 2000s, Kingsley, who previously composed religious works inspired by Jewish and Hebrew texts, worked on projects influenced by his Jewish heritage, including: "Selma," which comprised songs inspired by the poetry of Holocaust victim Selma Meerbaum-Eisinger; and "RAOUL," an opera in collaboration with Michael Kunze about Raoul Wallenberg, a Swede who saved tens of thousands of Jewish people during the Holocaust.

Kingsley is survived by his daughters, Melinda and Alisse, his son-in-law Victor LaPlaca and his grandson Max.

Doug Lubahn, Studio Bassist For The Doors, Dies At 71

House Gospel Choir

House Gospel Choir

Photo: Dan Reid

 
News
House Gospel Choir Brings Faith To The Dance Floor house-gospel-choir-rechoired-interview

Meet House Gospel Choir: The London Vocal Group Bringing Faith To The Dance Floor

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GRAMMY.com caught up with House Gospel Choir to discuss their debut album, 'RE//CHOIRED,' their creative process, and how the band's multicultural and multifaith composition creates a welcoming space for both its members and audiences
John Ochoa
GRAMMYs
Oct 30, 2020 - 6:49 pm

Anyone who's ever spent time at a club or festival has experienced the divine power of the dance floor: the rolling bass, the pumping rhythms, the vibrant atmosphere. While the blinding lights of the stage can often look like the gates of heaven opening, it's the communal feeling shared among fellow ravers and concertgoers that truly defines a proper dance floor. 

House Gospel Choir (HGC) know this better than anyone. Uniting the uplifting force of spirituality with the kinetic energy of dance music, HGC is a London-based vocal group bringing faith to the dance floor. Their unique style pairs two very distinct sounds—house music meets gospel—many would never think to combine, but that actually share a musical lineage. While house music is rooted in disco, the genre's pioneers and early tracks sampled gospel singers and hymns and featured spiritual lyrics: See trailblazing house classics like Joe Smooth's "Promised Land" and Underground Ministries' "I Shall Not Be Moved."

HGC now continue this musical legacy on their debut album RE//CHOIRED, released this month (Oct. 23), which sees the group completely reimagining house classics, like "Gypsy Woman" by Crystal Waters, as well as current dance anthems, including "Latch" by Disclosure featuring Sam Smith. The album also features original tracks from HGC, including collaborations with house legend Todd Terry, and contributions from leading dance producers like DJ Spen, GRAMMY winner Alex Metric, Wookie and Toddla T.

GRAMMY.com caught up with House Gospel Choir creative director and founder Natalie Maddix and member Laura Leon to discuss their debut album, RE//CHOIRED, the group's creative process, and how the band's multicultural and multifaith composition creates a welcoming space on the dance floor for both its members and audiences.

The concept of House Gospel Choir is very interesting and unique. I'm curious to learn more about how you came up with the idea of a gospel choir that sings house music.

Natalie Maddix: I came up with the idea because I love to sing and I love to rave. I love house music and I love singing. I think there's a really strong tradition of gospel vocalists singing all the house tunes I love. Gospel house as a genre, it exists and it's been around for a long time, but I wasn't aware of any other choirs singing [house music] … So yeah, it's mainly just because I like to party, and it's that feeling of being on the dance floor and getting to sing with everyone …

Beyond that, I'm a massive fan of vocalists, and I was always a bit confused as to why I never knew the singers' names on some of my favorite house tunes. So I just started digging and I just found all these other great songs with gospel vocalists on them or vocalists that started off in church, I suppose.

And it just kind of clicked. It actually clicked because I saw there was a Frankie Knuckles quote I read when I was doing some research just about gospel house, and it was, "House music is church for people that have fallen from grace." You know when you read something and it just hits you in your chest? And I was like, "Yeah, that's what that feeling is." 

That's what I love about raving, that community, that communion. I've had some nights out that do feel very spiritual and transcendent in some ways. I think Frankie Knuckles, being the godfather of house, just summed it up perfectly.

Your debut album, RE//CHOIRED—a very clever, fantastic title, by the way—features covers and reimaginations of house classics like "Gypsy Woman" by Crystal Waters as well as newer classics like "Latch" by Disclosure featuring Sam Smith. Can you tell me more about how you approach your song selections when it comes to your covers?

Maddix: The main thing is [House Gospel Choir] started off with the live show. The intention was to have it feel like a DJ set. So the songs were seamlessly all mixed together, but you had live vocalists with it and you had a blooming gospel choir with the DJ. Through just practice and doing vocal arrangements and trying things out, it's like I come to the table with all of my favorite house tunes, and some of them should [be] left alone, should not make gospel versions of some of them.

Then there [are] other songs that really lent themselves to this way of reimagining what the song is. I think the vocal arrangement, the ability to make it into a House Gospel Choir sound, is one side. But the other bit is actually the message ... "Beautiful People" was the first song that we ever learned, and that was the first song I brought to the choir. I just think I needed that message at the time ... the messaging behind that [song] really was one of the big reasons we decided to do that one.

[For] "Gypsy Woman," we listened to it for so many years, and it's just like one of the biggest party records ever made ... and I don't think I'd ever really listened to the words. And then I sat down and I was like, "Wow, she's actually singing about someone being homeless." I found an interview where Crystal Walters was talking about the lady this song's about, and it just really struck me that there [are] so many people that don't have a home.

Like in a really basic way, we're talking about displaced people across all walks of life, not just homelessness. We started thinking about refugees. So the song just took on a totally different meaning and we felt it was a great way to just remind people, encourage people to look around when you're out on the streets. As much as you hear this song all the time and as much as you might walk down the same street every day, there are other things going on inside of that.

The album also features original tracks from the group, like "My Zulu," a collaboration with Todd Terry. Tell me about the creative process behind your original tracks.

Maddix: Our intention behind those originals was most definitely "future classics," because we were like, "We have to be able to make tracks to stand up against these absolute massive hits." Obviously, it's a huge task, but we just thought, "Let's try, let's just do it." We started off with a bit of a wishlist of who we wanted to collaborate with. And we've kind of crossed everyone off that list. It's been an amazing journey ... We just really wanted to pay homage and make sure that those original creators [of the songs] really gave this project the stamp of approval that it deserves. We've taken all the time to make sure that everyone is fully aware and supportive of what we do.

Laura Leon: With the originals, creatively, there's been quite a few different processes; it's not always been the same ... But I think, all the time, the intention is there; we go into the session, we say, "What is our intention?"

There are several tracks on RE//CHOIRED that reference religion and God. It reminds me of conversations I've had with ravers and dance music fans who've said they found religion and salvation on the dance floor. There are a lot of songs and artists who've talked about this "God on the dance floor" concept as well. Could you speak on this house-meets-religion concept? What is the theory there? And how does it relate to what HGC is doing?

Maddix: I grew up in church. So I went to church before I could speak, I suppose. And I did Sunday school religiously for years. I got to a point where, as a teenager, I was probably a little bit confused about the Christian faith I'd, in a way, been given, been born into as more of a birthright than a discovery of that faith. I went to Pentecostal Sunday school, I went to Anglican primary school and a Catholic secondary school. And they were all very different explorations of Christianity and the Bible; I think I was just a bit confused.

I still go to church, but I snuck into my first rave when I was about 13. It was an under-18 [event], so don't worry. Immediately, the feeling of being on the dance floor and singing songs ... I immediately felt the same way I felt like [in] my favorite days in Sunday school when we were all singing and just being together and that sense of community. I found it instantly on the dance floor in a way, but with less restrictions ... So that connection between the two things, having that community and togetherness feeling, is there.

Beyond that, the originators of the sound would have come out of a gospel tradition or a religious tradition, and that is reflected in the music, especially in the early house tracks; I'd say to a certain extent even in current house [as well], but the link is just not directly there. For me, it's the same experience, it's the same expression.

Watch: Positive Vibes Only: Kierra Sheard And Karen Clark-Sheard Deliver Striking Performance Of "Something Has To Break"

I think House Gospel Choir's project is really important because there doesn't seem to be any conversation about faith in mainstream culture at the moment. So it's just to have that conversation. I consider myself to be a spiritual person. There are loads of different types of faiths within the choir … We have people from all walks of life within the choir. We have people that came [who] have no faith and are figuring it out. My only thing is, there is definitely something, and I'm all right with people not being able to describe it or explain it.

But when we sing a gospel song and you look into the audience of people that maybe have just come for a rave and they're crying or they're having those moments, I think it's just worth a conversation, and House Gospel Choir is here to facilitate that conversation rather than pretend it doesn't exist. Because there's just so much we can't explain. As clever as human beings are, there's a lot going on that we don't have access to. So why not look and share experiences and ideas and faith?

The idea and practice of religion can often be a dividing topic, particularly here in the U.S. where you have the so-called "religious right" and dedicated faith communities heavily involved in politics as well as a rising atheist population. Seeing how your music discusses religion so openly, how have fans been reacting to your music and your approach to religion? Are fans accepting of the religious themes in your music? Are you seeing any backlash or negative reactions?

Maddix: I think for people that love dance music, house music, electronic music, there's a real acceptance of this style of music and the message has been there for a long time, so there's almost no problem there ... These are songs that are explicitly about faith and gods and the Bible that maybe people aren't even aware of, but they accept them because they move them in some way. When you encourage conversation about the meaning behind songs or the message behind songs, people are quite open to it. That's how I feel about it, and that's what I found most dance music fans have felt.

We actually do have a lot more religious followers or Christian followers, I think, especially since lockdown when we started doing our a cappella videos. We did a cover of "Optimistic" by [vocal group] Sounds Of Blackness, and I think that resonated with people at a time where they just needed to feel optimistic … So I think it just brought more people into the space.

If you go through our followers on Instagram, it's really surprising. Some of [their handles] are like "prayedup97" and someone else might be "danceallnight81." And they're all there, they're all in the same room. And that is essentially what House Gospel Choir is. It's us with all of our different beliefs, all of our own issues, all of our own struggles—being in the same room. I think that's what is reflected in our fan base.

There's definitely been some questions from our more religious followers, once or twice, about the length of our skirts and such and such. But I don't think it's possible to rave in a long skirt, personally. [Laughs.]

I'm glad you brought up the composition of the group itself. I read that it's composed of more than 150 members from all religions, all backgrounds, all ethnicities. Tell me why that was a deliberate choice.

Maddix: We live in London, man. I think it's similar to New York. If you are able to share what you have with the biggest audience possible, it's just good. I think because we came at it [from] an angle from two things: singing, which anyone of any race of any religious belief can do; and raving and being together. I think those two things are real good levelers or nice entry points for a lot of people.

Being in London, having such a diverse population, it just happened naturally … Our members are from all over the U.K., actually. There [are] Scottish people in there, there [are] people from outside of London. In the same way that New York has that kind of migratory aspect to it—someone might not have family members in that town or that city—London's a similar thing. I think it also brings together people that want to belong somewhere ... It's just a home for anyone that wants that experience.

Watch: Jekalyn Carr Speaks To The Unifying "Power Of Love" | Positive Vibes Only 

Leon: It provides like a second family, like you said, because there are a lot of people from outside of London ... To be able to come together in a safe space where you can just be yourself—even from personal experience, from a mental health perspective, it really helps being together with like-minded people that just want the same thing and to just let your hair down ...

But no matter what, everyone's got each others' backs ... I think we're all just aiming for the same thing, so [we're] all on the same page. Essentially, Nat is the driving force behind this movement. So it is her final word, and everyone respects that. Everyone just wants to work for the greater good and provide a space to fully be yourself [with] no judgment at all.

What is House Gospel Choir's mission statement? What is your ultimate goal for the group?

Maddix: My main thing was always to remind people that we are one. It's my mantra. I've noticed that so many people are using it now ... So many people are waking up to the idea that there's more that unites us than separates us. All these things that are supposed to make us so different, when you really get down to it and sit in a room or share space with people that feel very different to you, you realize there's not a lot of difference between who you are as human beings.

That is the message at the top and the end of our live show. That's how we always wanted people to leave feeling. I think during the pandemic, that's expanded a little bit more as well. It's about joy and it's about finding those moments and pockets to enjoy life and really witness and experience beautiful moments and beautiful things with anyone that's near you. It's just to remind people that joy is still required. With everything going on, just remember that you can feel two things at once. You can be sad and still find something joyful in your day or in your week. And singing is a good way to feel joyful.

Hispanic Heritage Month: Lucía Parker & Henry Alonzo Talk The History & Globalization of Latin Contemporary Christian Music

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Simeon Coxe of Silver Apples

Simeon Coxe of Silver Apples

Photo: Gary Wolstenholme/Redferns

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Silver Apples Founder Simeon Coxe Dies At 82 simeon-coxe-dead-silver-apples

Simeon Coxe, Silver Apples Founder And Synth Pioneer, Dies At 82

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The trailblazing band, formed in New York City's underground music scene during the late-'60s, counted legends like John Lennon and Jimi Hendrix as fans and would go on to influence seminal groups like Stereolab and Portishead
John Ochoa
GRAMMYs
Sep 9, 2020 - 11:53 am

Simeon Coxe, an innovative synth musician and performer who founded the pioneering electronic rock group Silver Apples, died Tuesday (Sept. 8) following a battle with pulmonary fibrosis, a lung condition, Rolling Stone reports. He was 82.

Born in Knoxville, Tenn., in 1938 and partially reared in New Orleans, La., Coxe became a local figure in New York City's underground music scene after relocating there in the late-'60s. His former group, the '60s rock unit Overland Stage Electric Band, disbanded after he introduced a vintage oscillator into the act's sound, according to Rolling Stone, leaving drummer Danny Taylor as the sole remaining member. 

Reimagined as Silver Apples in 1967, Coxe and Taylor pioneered a style that mixed primitive synthesizers over rock elements. Coxe's homemade electronic rig, dubbed "the Simeon," according to Rolling Stone, is considered to be "one of the earliest instances of electronic sound being used outside of academia," The Quietus reports.

During their initial run, Silver Apples released two underground albums on Kapp Records: their self-titled debut album in 1968 and Contact in 1969. After the band's third album, The Garden, was pulled due to a lawsuit with Pan Am, Silver Apples disbanded in 1970, according to AllMusic.

After bootlegged recordings of the band circulated around Germany in the mid-'90s, renewing interest in the long-dormant band, Coxe reformed Silver Apples with keyboardist Xian Hawkins, aka Sybarite, and drummer Michael Lerner. Together, the trio released two albums in 1998: Beacon, which featured Steve Albini as engineer, and Decatur.

That same year, Coxe and Taylor reunited under the original Silver Apples lineup. The duo revived early recordings of The Garden, which had long been shelved for nearly three decades, and released the album, considered to be the band's "lost" third LP, in 1998.

After Taylor died from cancer in 2005, Coxe continued to perform under the Silver Apples banner and used samples of the late drummer's playing in live shows. 

Coxe released the final Silver Apples album, Clinging To A Dream, in 2016. The band's first album in nearly 20 years, it featured former member Xian Hawkins and Lydia Winn LeVert, the latter of whom was Coxe's "long-term companion and creative collaborator," according to The Guardian.

While the group's erratic run remained mostly within underground circles, Silver Apples gained a cult following throughout the decades. They counted legends like John Lennon and Jimi Hendrix as fans and later influenced seminal groups like Stereolab and Portishead.

Coxe is survived by his brother, David; his nephew, Aaron; and his longtime partner and collaborator, Winn LeVert. 

Gershon Kingsley, Electronic Music Pioneer And Composer, Dies at 97

SOFI TUKKER

SOFI TUKKER perform in 2018

Photo: Jamie McCarthy/Getty Images for Bombay Sapphire

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World On Pause Festival To Benefit MusiCares world-pause-virtual-festival-benefit-musicares-sofi-tukker-sam-feldt-felix-jaehn

World On Pause Virtual Festival To Benefit MusiCares: SOFI TUKKER, Sam Feldt, Felix Jaehn, Markus Schulz And More Than 60 Artists Confirmed

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The three-day online fundraising event will also benefit Feed The Children and the Restaurant Workers' Community Foundation in their respective COVID-19 initiatives
John Ochoa
MusiCares
Apr 29, 2020 - 8:47 am

Some of the world's biggest DJs and dance music producers are rallying together on the digital dance floor for the first-ever World On Pause Festival, a three-day virtual fundraising event benefitting MusiCares' COVID-19 Relief Fund as well as Feed The Children and the Restaurant Workers' Community Foundation in their respective COVID-19 initiatives. Presented by EDM blog The Nocturnal Times, the aptly titled online festival will feature DJ sets and live performances from more than 60 top electronic and dance music artists, including SOFI TUKKER, Sam Feldt, Felix Jaehn, Markus Schulz and many others. View the full lineup below. 

Taking place May 1-3, World On Pause Festival will stream on popular tastemaker YouTube channel MrRevillz as well as Pioneer DJ's Twitch channel all weekend long. While the event is free to watch and open to the public, organizers are encouraging viewers to donate to one of the three aforementioned organizations. Fans and followers can donate now through Monday (May 4).

Watch the livestream below.

Presenting partner Pioneer DJ, a leading manufacturer of DJ software and equipment, is hosting a giveaway ahead of the festival. Those who RSVP to World On Pause Festival in advance can enter to win from a selection of prizes, including DJ gear and headphones. Entry for the giveaway will remain open all three festival days. While donations are not required to RSVP or to enter the giveaway, fans can earn additional entries to win in the giveaway when they donate to one of the involved charities.

How Will Coronavirus Shift Electronic Music? Maceo Plex, Paul Van Dyk, Luttrell, Mikey Lion & DJ Manager Max Leader Weigh In

Tchami

Tchami

Photo: Anthony Ghnassia

 
 
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Tchami Talks 'Year Zero' & Producing For Lady Gaga tchami-interview-lady-gaga-chromatica-year-zero

Tchami Talks Debut Album 'Year Zero,' New Single "Faith" And Producing Lady Gaga's 'Chromatica'

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GRAMMY.com caught up with the Parisian DJ/producer to talk about how he experimented in the studio on 'Year Zero,' Lady Gaga's fearless approach to music and his ongoing chase to "master the alchemy of making great records"
John Ochoa
GRAMMYs
Sep 29, 2020 - 6:27 pm

Tchami might be having the best year ever, and in 2020 no less. Over the last decade, he's performed at some of the biggest festivals in the world, amassed hundreds of millions of online streams and launched the future house genre. This year, the Parisian DJ/producer upped the ante: As one of the featured producer's on Lady Gaga's latest hit album, Chromatica, he's put his magic touch on one of the year's biggest pop releases. 

After first working with Gaga on "Applause," the lead single from her 2013 album, ARTPOP, the pop queen once again tapped Tchami for Chromatica. He co-produced four of the album's tracks, including lead single "Stupid Love" and mega radio hit "Rain on Me" with Ariana Grande. 

"The vibe in the studio was open," Tchami said of the creative process behind Chromatica. "[In] the end, I was just happy to be there and come back when my help was needed."

As the overwhelming success of his earworm tracks continues to build, Tchami is closing out the year with the release of his forthcoming debut album, Year Zero. Set to release later this year, the album is an "illustration of where I am right now as an artist and also as a human," he explains. 

So far, Tchami has rolled out five singles off Year Zero, including his latest, "Faith," released Sept. 25. The up-tempo house track centers on a haunting sample from legendary soul-jazz singer Marlena Shaw's 1969 song, "Woman of the Ghetto," a stark portrait of Black life in America during the tumultuous decade. 

"There is a fascinating aspect about sampling in the way that you're able to bring something from the past and its aesthetics into a new time and place," Tchami says of the distinctive sample driving "Faith."

GRAMMY.com caught up with Tchami to talk about how he experimented in the studio on Year Zero, Lady Gaga's fearless approach to music and his ongoing chase to "master the alchemy of making great records."

Your new single, "Faith," samples Marlena Shaw's 1969 song, "Woman of The Ghetto." How did you discover the sample in the first place?

About two years ago, during the first studio session for the album, DJ Snake came to me with this idea to sample "Woman of the Ghetto" by Marlena Shaw. I made the first sketches around the a cappella that we extracted from the original version. The creation process around it was really similar to doing a remix.

What drew you to the sample for this specific song? What made you want to use it for "Faith"?

In the early 2000s, I was buying a lot of vinyl records in France. It could be any type of genre, and as far as I can remember, I always liked to incorporate samples in my music. There are ups and downs due to clearances, but it's definitely not new to me. There is a fascinating aspect about sampling in the way that you're able to bring something from the past and its aesthetics into a new time and place. Again, nothing new here, but that's my thinking behind all my sample choices. 

I called it "Faith" to punctuate Marlena Shaw's powerful message in her original song. I don't write lyrics at all, even if I try to, and, like many others, my words often fail to express my intentions. That's why I mainly choose to stick to the musical side to express myself; I have found just that in electronic music. I can't hide the fact that I have been touched by records with a powerful message in my life and I wanted my first album to represent that as well.

Read: Record Store Recs: Chicago House Hero Marshall Jefferson On Representation In Dance Music 

You're releasing your debut album, Year Zero, later this year. How do you plan to make the album stand out from your previous releases and projects? 

I surely went deeper in my sonic explorations, tested new BPMs and song structures. I also wanted to be in a studio creating with songwriters. Since I mainly make music from home, I wanted to shake [up] my creative process a little bit. We had some wonderful moments during these sessions. If I have an obsession in life, it's definitely knowing enough about making a record from scratch, alone or with other people in the room. Everyone's energy is important and I pay attention to everyone. 

The main reason for this album to exist is that I wanted to challenge myself. At some point, I was asking myself, "What's next for you Tchami?" Another EP? Countless singles? [There's] nothing wrong with that, but the challenge wasn't there. And as a listener, I just love the album format. But the main wall I kept hitting was, "How are you going to keep the listener engaged through the whole album?" Well, I guess I'll have the answer soon enough.

The term "year zero" carries a lot of different meanings and definitions. For instance, it's used to describe "the beginning of revolutionary change" or "the beginning of any new system or regime." What does Year Zero mean exactly in the world of Tchami?

I think Year Zero is a good photograph/illustration of where I am right now as an artist and also as a human. I have lost family members during the making of the album, I had to terminate some friendships that were unhealthy. Those who know me know that I can be too agreeable most of the time because I believe in people's vision and want to help them achieve it. The cost is putting myself aside. I also think this is a good reason why I'm a good asset in the studio for other artists. But all this led to an inner revolution that started with the Tchami project and continues with this album. 

Don't get me wrong, I enjoy healthy collaborations; that's what this LP is about. Music is a therapy for me before being a job. I am also conscious that the title can resonate in other ways, especially during these times, and I can't stop people [from thinking of] it. Once the album is out it's up for debate and interpretation. It's meant to be shared, experienced, and maybe be a part of you for some time.

You co-produced several tracks off Lady Gaga's new album, Chromatica. How did that opportunity come about for you?

[GRAMMY-nominated producer] BloodPop and I were introduced to each other by a mutual friend, as simple as that. I think he wanted to work with other electronic music producers to shape the Chromatica [album] with him and Lady Gaga, so I'm glad I was one of them. 

Beyond the fact that this is an exciting project to work on, the vibe in the studio was open, and as far as I know, I had full latitude to work on every song of the album. [In] the end, I was just happy to be there and come back when my help was needed.

Have you always been a fan of Lady Gaga's music? Or is this a more recent development?

What I like the most about her is the big picture she paints, not only with her music, but with all her artistic and aesthetic choices. It always makes sense. She is not afraid to challenge herself in other music genres and makes it look effortless. I think it's powerful not to let people put you in a specific box; if you want to do something else, you should be proud and praised, too. 

Read: Jayda G Talks New EP, Promoting Diversity In Dance Music & Sharing Joy 

Lady Gaga has always kept one foot in the pop world and one foot on the dance floor. For example, electronic artists like David Guetta, DJ Snake, Infected Mushroom, Zedd and Madeon have produced for her. Does this dance-pop crossover make it easier or harder for your individual sounds and styles to come together when producing for Gaga or a similar artist?

Unless I'm asked to, I never try to bring the Tchami sound forward when I work on somebody else's project. Bringing my best game means sometimes getting Tchami out of the way because we're trying to write a whole other story. I make all kinds of music in my studio that never sees the light of day, so working on other projects is always an opportunity to surprise people. Maybe the most important thing isn't the sound signature, but the creative process and being able to co-create something unique each time.

Do you have plans to continue experimenting and producing in the pop world? Are there any other genres you're interested in exploring or experimenting with as a producer or artist?

Pop music is a vast world, plus it is one of my guilty pleasures. So why not? I'm interested in other genres, too; maybe [working] with live instruments a bit more. I'm also deeply invested in the mixing and mastering aspects of a record. I think it's one of the key reasons why a record is satisfying to one's ear and potentially timeless. [More so] than genres, I'd like to master the alchemy of making great records.  

Your label, Confession, has helped globalize several breakout electronic artists, including Malaa. What's the label working on for the remainder of 2020 and going into 2021?

2020 is definitely a year we take to reflect on the label's direction. We will continue to give a voice and a platform to emerging artists, but also to initiate and engage more in collaborative efforts such as new compilations and live events. 

Aluna On New Album 'Renaissance' & Making Dance Music Inclusive Again 

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