France - Full Moon 47 - 08/15/00
Mr Rose Aime La Pop
Dazzle And Delight
Based as a duo of Franck From France and DJ Lord Blastard, the French group dXd has
recently recorded a first "official" EP called Mr Rose Aime La Pop. The two members
began at the end of the 80's, with the group Dazzle And Delight, with rock/new wave style
music. After an album and some appearances on compilations, they decided to change their
musical style in 1995, and drew nearer to electronic tones. After releasing some demos (like
Low Tek Accident, Low Tek Accident II and RecYcle aGe Dé Mo), the band
has recorded this EP, released by the independent French label Dazzle And Delight Productions.
We find, through 3 songs, the numerous musical knowledges of the group, by the perfect mixture
between the 70's psychedelism for the musical experiences, the 80's pop for the melodies and
the 90's electronic for the musical audacity and destructuration. Like the eponymous title
when we revive our souvenirs of Pop Musik, followed by Psychotic Jimmy and
its current trip-hop, and then the psychedelic Beatnik Boogie.
But let's try to know more about the approach of dXd in search of a certain musical
What are your major musical (or others) influences? Is there some evolution in comparison
with the start of your carreer, and - if so - are they complementary or totally distinct from
VF: we were previously in the band Dazzle And Delight with new wave influence. Then,
the evolutions of the 90's electronic scene have profoundly marked our manner of conceiving.
But our influences are very wide: classic music, jazz and an important part of the 70/80/90's
MF: my influences are so wide that these include the 60's psychedelic music up to the
last Aliens releasing a great album in September 2001.
Where do you place yourselves in comparison with the French electronic musical motion?
In particular facing "early people" like Laurent Garnier, or "rising values" like Demon, Daft
Punk or Les Rythmes Digitales, with different musical roads?
VF: All these groups belong to the electronic wave close to the "house-techno" style,
the "French touch". We place us rather in a more "organic" motion. Of course we are influenced
by F Communications, Solid and the others French productions, but we are also very interested
by the English bands like Orbital, Leftfield, The Chemical Brothers. The sounds and the
manners they conceive their songs are very close to us.
MF: The motion of the French electronic music brings the bands together, first by the
common country, and the desire to create freely, with multiple influences borrowing ideas and
sounds from every musical trends and from every period. In term of music, we can do anything
we like in France.
And in comparison with the international scene, in terms of distribution with a label, of
concerts or festivals, of collaborations?
VF: No label, no concert or festival, no collaboration. More seriously: concerning the
records companies, we want to prove ourselves, to take advantage of the liberty to make all
ourselves, even if it is long and needs a lot of work. In fact, we are more interested by a
distributor. We do not know how to make this, because it is too long and too tedious. And it
is the same thing for the concerts: the organisation of tours is something we do not know and
do not want to make ourselves. The collaborations are very important in the sense that they
allow to compare the ideas and the experiences. We had some failed opportunities, but we are
MF: It takes place in an innovative and inventive slot. It has become copied and
imitated for some time.
In general, how long is there between the creation of a song, in term of idea of
composition, and the final recording? Do the songs constantly evolve between these two temporal
extremes, or has the first idea been kept?
VF: It is very variable. The song Amanda which is going to be released this autumn on
the next maxi has been composed in its first version since 3 years. Of course it has been
revised since, but the rhythmic base and the principal samples are the same. On the other hand,
Mr Rose Aime La Pop has been quiet quickly constructed, about 5 months. But the final version
has been achieved one week before the recording: we noticed (quiet tardily) that a sample did
certainly not "free" of copyright, so we had to remake the rhythmic base at the last minute.
In general, the first jet has an almost achieved melody. Bass/keyboards/guitars/samples take
place in the song. Then, there is a long work of rhythmics, of arrangement, of structure. This
is the longest work.
MF: This could be quick, but the tracks evolve slowly (6 months) because of the distance
between us (NB: Franck From France lives currently in Sweden). So, there are several versions of
The choice of samples takes an important place for the - independent - electronic musics:
in your case, is it conditioned by the song itself, or can one compose a song around a sample in
order to recreate a different atmosphere (if it is a musical sample) or in order to work like
with a music for a movie (if it is a movie sample)?
VF: We work very rarely, and besides less and less, around a same sample. It is very
restricting and it does not really correspond to our manner of imaging the tracks. On the other
hand, a sample can bring a bonus in a song, a revival.
MF: There is no secret. This can begin with a distinct sample or a sample with no
structure or a personal composition. In short, we find here the same synergy of a band, which
means a track can be composed from an improvisation of the guitarist, the bassist or from a text.
I have recently read (from the excellent French magazine "magic!") that a hall had been
created at Clermont-Ferrand (France), which allows concerts mixing sound and video. What do you
think about the relation between the video and the electronic musics, relation more important
than for the other kinds of music?
VF: That's perfect!
MF: The contribution of images with a duo of DJ can be a bonus to give a catchy side to
live. Especially if the video is made with and for the music. The producer of these video will
be an integral part of the group. Like some producers with their composer.
To finish, some words about the problem of the distribution in France, of the
"independent" music I have always found aberrant to buy some French musics like import musics
in France! What about the distribution of your albums? In fact, do you think that the circle
"difficulty of distribution - a handful of listeners because of this lack of distribution (save
for the initiated) - limited recognition and then difficulty of distribution" can find a
solution with the great tool which Internet is? Especially, what is your position regarding the
explosion of the MP3 technology which is, I think, an excellent way for people to discover some
VF: It is very difficult to find a record company for our maxi. I think, rightly or
wrongly, that the distributors are afraid to deal with small independent groups. Wrongly because
a lot of good music, in France, is made by this kind of bands who take risks. The quality is
present, we just have to listen. Rightly because the distribution, like it is currently
organised, is unfavourable for the small bands, except - as you tell - the initiated and their
specialized network. But before that a style or a band becomes mainstream, there is always some
duration when it is difficult to be known. And the French techno music is not mainstream, even
if everybody talks about it. Except the first album of Air and Daft Punk, I do not know a lot
of musicians who can compete with The Chemical Brothers or Fatboy Slim. Especially in France
where, as you say, an album must be known in England before it should be sold in France. But I
am confident because independent musicians, like us, wait for the right time. We are patient!
Nevertheless, I think that the record industry (labels - distributors - music shops but also
the music press) must fit better than it has done until now. With at style (the reggae style
had to wait 20 years to stand out in France, and the same duration for the Swedish rap to be a
real musical trend - NB: Franck From France lives currently in Sweden), and with at support. The
MP3 support is the best example. Now, anyone could upload anything with Internet. The big
companies which govern the record industry have certainly begun to launch their "cultural
revolution", by grouping with the world communication firms, for example, because it will be
their salvation. But what about the small independent firms which will not have the means to
pay for developed and safe networks? As you see, the Internet revolution is two-edged, but we
are banking on Internet, because it is a fabulous way for our music to be known, and a perfect
support for the electronic musics.
But don't delude ourselves! As for the "traditional" distribution, it is always the showiest
one who succeeds in being known. How could it be possible to come out of 500 000 bands who also
bank on Internet? That is the question! The promotion with Internet needs less money than
previously, but on the other hand, needs more time and imagination. I do not know what could be
the results, for us, of this "Internet revolution", but we do not want to be a loner. Finally,
don't forget that the aim of a musician is not to be known, but to have a lot of listeners. And
without any income in return, bands do not hold out, anyway not in term of duration. I do not
believe in philanthropy. This is a point to clarify, about this revolution of the new
technologies (Internet, cutter).
MF: It is clear, Internet (go see
dXd) will be the salvation of
the "underground" bands. The auto-distribution policy is going to have all its sense.
Copyright © 2000 Patrick Dubail