In early July, Curiosity Music unveiled its eighth EP, Pony, for whom the author is none other than the German Marc Faenger. The artist was already ready to participate in the label adventure by remixing one of the tracks of the “XXL” EP, but also by taking part in the third Release Party. For this occasion, and lately in writing, the Dj and producer brought up his beginnings, his influences, his projects as well as his future.
C.M.: According to your biography, you draw your inspirations from Pink Floyd or the Allan Parsons Project. Who introduce you to this music?
M.F.: My father listened this kind of stuff all the time. He was really into like proto rock impulses by Pink Floyd but also more electronic stuff. He introduced me to Kraftwerk and stuff like that.
C.M.: What did you before producing music?
M.F.: I did some web design and illustrations because I came from a skater scene and graffiti with a little pop rock touch. I studied that for three years and I got employed right away from College. After a year, I realised it wasn’t for me. So I switched plans and I came to music.
C.M.: You were also involved into a rock band, didn’t you?
M.F.: Actually I song and played bass in a rock band. We played our own songs but indirectly inflected by Mel Collins’ work and underground stuff.
C.M.: As many others did, how did you switch from rock to electronic music?
M.F.: It was a really organic process. In mid-nineties, a friend took me to my first electronic party and I was immediately hooked. From this moment, there was no way back. Alongside Indie scene, everything was repeated itself and there were only fresh impulses. So I grew funded of that electronic music.
C.M.: From the very beginning, what are the artists who inspired you and pushed you to start producing?
M.F.: I was very into Daft Punk for the first homework that came on, listening their tracks over and over again. But then it evolved pretty quickly into a deeper sphere, to a more adult techno with not much effect; it’s all about the vibe. Loco Dice introduced me to this because at that time we worked together at a promotional agency. He was promoter of some events and I played there. Through our friendship he helped me to see deeper stuff.
C.M.: How did you meet « The Master » Richie Hawtin?
M.F.: There was a period when he played some tracks of mine. One day, his booking agency asked me straight away for playing at ENTER. It was a kind of shock for me and I didn’t know really what to think of it. Of course I said yes. When I got in touch with him personally, he said that he really appreciated my work and was looking forward to meeting me and of course, the pleasure was all mine. After that, we scheduled the first gig at ENTER.
C.M.: Would you say for the music you produce, meeting a guy like this one is a kind of achievement?
M.F.: It was a kind of revelation. At this point in your career, you don’t have to be nice to anyone but Rich is one of the most talented and also one the nicest guys I have ever met. He is super down to earth. I was expecting to our meeting to be a little awkward but it was none of that. It was straight away we got good conversation going.
C.M.: How did you enter MINUS and produce music for the label?
M.F.: It was also an organic process. After a year of playing music for Rich at his events, we develop upon that it really has to follow. So I created 7 tracks and he took 6 for the first EP. I’m still flattered about that. It was just something that grew organically.
C.M.: Your sets and productions are quite trippy. What can be the definition of a good trip for you?
M.F.: I think it always depends on how people can react. Some can’t let go, others can. Being in the right mood, with the right people, in the right place, and the right sound playing, all matter. A good trip is when you got and feel the vibe in the whole place and when people are on the same page. From there, you got a very unique synch. In the best-case scenario, you got that going through all the night.
C.M.: Do you have next EPs or next collaborations in progress?
M.F.: I am working on new stuff for Trapez, the label I released earlier last year. Recently, there were also a remix for Brixton as well as a sample pack for Little Helpers that coming up. I am always working, trying to discipline myself. When I make the conscious decision to focus solely on electronic music and producing, I knew that it could be hard and you don’t earn so much money. But it is a real job, and I get up in the morning and go to the studio every day no matter what. It helps you to improve your skills, learn new views to you, do some automation on stuff you have almost forgot and I think it is important to keep things going.
C.M.: What would you say about the French scene and the French audience as you already played one time?
M.F.: I think they are really open-minded and it is really cool to play here. Of course Rex club is a huge influence for many people I know. And also there are new brilliant young producers like you guys who tried really good.
C.M.: If you have to compare the French scene and the German one, are there differences?
M.F.: The thing about techno is that it is pretty much universal especially if you are in Europe. If you play in the States, it can be another story. Over here in Europe, it is not much different.
C.M.: Within 10 years, where you will be?
M.F.: Hopefully doing the same thing that today. I don’t really have any 10 years-plans or something.
C.M.: How this industry could be within ten years because it is constantly changing?
M.F: I think the industry is on the verge of making itself smaller which is healthy I guess. This is kind of a repetitive process: everything is big at one point and then goes away, and then something new grows up. Hopefully.