Para One In the Studio

Producers like Para One are one-of-a-kind. Schooled in the ways of hip-hop and techno from a young age (the former through the crew he joined at age 14; the latter through his cousin Saint Remy’s mixtapes), the man known to his maman as Jean-Baptiste de Laubier twists genres and beats with equal ease, while approaching his productions from an entirely DIY aesthetic–his formal sound-engineer training notwithstanding. His hybrid use of analog and digital machinery suggests obvious ties to the past, but squelchy , future-forward club hits like “Dun-Dun” and “Midnight Swim,” and his countless remixes for his French, British, and American contemporaries speak for themselves. He’s also the de facto producer for Parisian hip-hop group TTC, who sits in on “Musclor” on de Laubier’s full-length Epiphanie. Para’s signature thump hits harder than most mainstream rap producers–and holds its own on the dancefloor. We talked to Para One about how–and when–to get the most booty-bang for your buck.

XLR8R: Where is your studio located?

Para One: Near the République metro stop in Paris.

Is there anything special you do to prepare yourself to go in the studio?

First, I have to drive across Paris on my scooter–fast! Then I drink coffee–liters of it. Then I smoke cigarettes–a lot of them. Then I finally get sped-up enough and I can do music. And I do it as early in the morning as I can, sometimes as early as 5 a.m. The worst time for me to record is around 2 p.m.–that midday depression, where I have suicidal tendencies–but the energy comes back around 6.

Do you spend more or less time on your own productions than when you’re producing or remixing someone else’s stuff?

The time I spend on production is always very short, actually. It’s more about time that I spend thinking about production! And it can be really long when it comes to my own tracks. I just sit there, staring at my work for weeks, then suddenly I make a move and it’s finished within a day. I can’t explain why that is. But it’s much faster for the remixes, obviously, with A&R guys being on your ass all day.

Did you study recording at all? Or is it something that you think can be learned on your own?

I learned when I had to go to studios and pretend, in front of scary ghetto rappers, that I knew shit about what I was doing. Then it became actual knowledge! After that I did get a degree in sound engineering but don’t bother. Learn by yourself, definitely.

What’s the most personal thing you have in your studio?

My Sequential Circuits Pro-One synthesizer is my pal. You can’t ever tune the two oscillators together properly, so it always sounds a bit sad, like it can understand you and express it all. Especially for bass, it’s the best. Its sound hits your chest like real pain. But my favorite things in my studio besides the Pro-One are a Neve Kelso mixer, a Linn Drum, a Korg MS 20 with SQ10 step sequencer, and my Roland TR-808 drum machine.

What’s your favorite type of song to remix?

I love remixing songs with good acapellas and the right tempo. I’m fed up with the tearing-it-all-apart-then-putting-everything-back-together method… [Even in regular production] I rarely use samples. When it happens, I chop them up until they’re mine.

What’s your live show like? How do you make it exciting for the audience?

When I have to fly, I only take my Mac and a MIDI controller, because if I carry the 909 or the Pro-One with me, I just won’t make it to the venue–I’ll be hanging out with terrorists in jail instead. I use Ableton Live and Reason synchronized together though ReWire. It allows me to improvise more than just triggering loops in Ableton like every average, lazy-ass pseudo-performer is doing nowadays. It’s difficult to improvise, and to actually do something live. The key is to take risks, to add new ideas every time, and to learn stuff from the show–not just to “do the job.”

What about the visual experience?

[With others’ visuals], I just have to grin and bear it every time, what with those horrible, local homemade vids that make you feel sick or paranoid or depressed–like loops of subway shots or mutilated puppets dancing.

Anything you hate about production?

What I hate about producing is that every time you make something happen, you know you’re going to suffer from it later.

XLR8R Weekly Top Ten: Jesu, Sven Väth, Fat Joe

Jesu LifelineHydra Head
Although Lifeline isn’t exactly Jesu’s best material, it’s still some of the finest heavy shoegaze to hit record shelves this year. Featuring a load of layered harmonies, sporadic electronic percussion, and buried, effected vocals, these four tracks display Godflesh-founder Justin Broadrick’s project in its most mellow and melodic state. Including a collaborative song with Swans’ Jarboe, Jesu’s fifth 2007 release will have metalheads and post-rockers stoked. FM

Various Sven Väth In the Mix: The Sound of the Eighth SeasonCocoon
At some point Sven Väth decided he was going to create a mix of some of the most mind-altering techno tracks he could get his hands on, and we’re stoked that he did. Clocking in at over 150 minutes, this two-disc mix is packed to the brim with enough psychedelic, muffled techno to slaughter clubs in Berlin and Ibiza alike. Featuring tracks from Alter Ego, Chaton, Joris Voorn, and more, In the Mix is a post-midnight gift from the gods. FM

Arcade FireNeon BibleMerge
After David Bowie and Bruce Springsteen got behind the cause, I couldn’t help but finally really check out what all the Arcade Fire fuss was about. Turns out they do the quiet-slung Americana-pop thing better than a lot of Americans (like this weird Eddie and The Cruisers homage, “Keep the Car Running”). Pretty radio-friendly, but it’s nice when a band can bring together people who know nothing about music with people who know tons about it. Hell, this version even comes with a couple flipbooks. Nice! KT

SunI’ll Be the SameStaubgold
We featured Oren Ambarchi’s Southern Lord debut last week, and now we have to give dap to the artist’s collaboration with Chris Townsend under the Sun moniker. Unlike Ambarchi’s doom-clad work with The Burial Chamber Trio and on his solo records, I’ll Be the Same could easily fall into the indie-folk category. With plenty of melancholic guitar lines and discordant vocals, this surprisingly catchy record is a fine achievement for the Staubgold imprint. FM

Fat Joe Feat. Lil’ Wayne “The Crack House” Imperial
Fat Joe and Lil’ Wayne have teamed up once again and they just cooked up fire. Featuring über-glitchy production, Joe’s pissed-off lyrics, and Lil’ Wayne waxing poetic about a crack house, this as a club staple. It’s no “Make It Rain,” but “The Crack House” will rock blogs and Hot 97 for days to come. FM

LindstrømThe Contemporary Fix EPSmalltown Supersound
Lindstrøm has officially made the crossover into prog-rock territory. As if the 20-minute track with Prins Thomas weren’t enough, the spacey producer enlisted Bjørn Torske and Boredoms’ EYE to handle remixes for this four-song journey. Resonating guitars, a rhythmic pulse, and a Rod Stewart hook lead the way through the Norseman’s newest, so you know this is leftfield business. If disco is dead, then prog-disco is alive and well. FM

StSanders “Shreds” YouTube clips
This StSanders guy surprised me. I was searching for some crazy Santana-shredding footage, and what did I get but some of this guy’s completely offbeat, horribly strummed parody versions of “Oye Como Va” and Clapton. And then I got it. Check moment 1:12 in the Santana vid for a rad “Final Countdown” homage, and then check Metallica’s killer version of “One.” KT

Röyksopp “What Else Is There (Trentemøller Remix)” Audiomatique
Featured on Trentemøller’s recently released Trentemøller Chronicles collection, this relatively older remix deserves to be revisited. Featuring epic vocals courtesy of The Knife’s Karin Dreijer, a New Order-esque breakdown, and some of the gloomiest Trentemøller production yet, “What Else is There” is still a dark-electro gem. If you haven’t picked up this two-disc collection, perhaps now is the time. FM

Dominik Eulberg BionikCocoon
Dominik Eulberg’s effortlessly dark techno should not be taken for granted. Bionik is minimally melodic, thumping, and filled with plenty of surprises from the trance graveyard. After listening to the hypnotic and heavy “Haifischflügel,” it would be hard to deny that this one of the choicest techno LPs of 2007. FM

Prinzhorn Dance School You Are the Space Invader EPDFA/Astralwerks
While Prinzhorn Dance School can sound a bit reminiscent of The White Stripes at times, this EP is worth swooping for the Optimo remix alone. Featuring a bunch of weirdly layered vocal noise, post-punk percussion, and the same bassline for six minutes, the “You Are Space Invader” remix couldn’t make any more sense, despite the odd title. FM

FM-Fred Miketa
KT-Ken Taylor 

Realistic “Amazing Fall”

Brooklyn-based James Towning (a.k.a Realistic) deserves his place next to Girl Talk on the Illegal Art roster. Incorporating a myriad of samples from rock to self-help records, Realistic has set a new template for eerie downtempo. If sound collages that bump had a poster boy, it would be this advanced producer.

Realistic – Amazing Fall

M.I.A. Kala

What’s great about M.I.A. is the fact that she refuses to conform to mainstream connotations of female performers while remaining palatable enough to appeal to a large, international audience. Her sophomore effort, Kala, is the epitome of that rebellion. “Paper Planes,” perhaps the strongest track on the record, is the perfect example: A summery, top-40 hip-hop hit is completely overwhelmed by 16 gunshot samples in each chorus. Simply, this is M.I.A. staying true to her creative impulses. The straightforward party tracks are just as amazing: “Boyz” mixes good times and political commentary (“How many tequila in the place…/How many boys to start a war?”). With Kala, M.I.A. may have created the most ingenious LP of the year.

Lucky Dube Killed in Ambush

South Africa’s Independent Online News reported Thursday that world-renowned South African reggae artist Lucky Dube was killed in an apparent carjacking. According to police, the incident took place October 18 in Rosettenville, Johannesburg. The BBC has also confirmed the grim news.

Johannesburg Police Captain Cheryl Engelbrecht said the murder occurred at around 8:20 p.m. when Dube was driving a blue Polo vehicle in the Johannesburg suburb. She said Dube was dropping off his son in the area when he was attacked. “His son was already out of the car. When he saw what was happening, he ran to ask for help.”

Lucky Dube was hailed by Afropop.com as “The shining star of African reggae,” and by the UK’s Mail & Guardian as “South Africa’s biggest selling contemporary artist.” To many, Dube was a modern day hero with a message that touched millions of people. He toured extensively, and performed in the US as recently as May 2007.

Dube recorded 21 albums since 1982, and was known for his socially conscious lyrics and distinctive voice, which many critics compared to the late Peter Tosh’s husky baritone. The BBC praised Lucky Dube’s April ’07 Warner Jazz release, Respect, saying “It’s as joyful an experience as he’s ever conjured.”

Buck 65 On Leaving Paris

Rap troubadour Buck 65 recounts his years spent in Paris–and why he had to leave:

Paris. She didn’t want my money. She didn’t want my accent. She didn’t want my tears. She only wanted my songs.

Paris loves the artist being an artist. Paris raises her glass and sounds her bells. But there are always too many moments–even days on end–when the artist is the regular Métro passenger, he who waits in line at the grocery store, and whose bicycle is in need of repair.

Paris is the gorgeous ice-queen dragon lady. She’s the pathological liar with everything going for her. She knows she’s great, but is still desperate for attention and reassurance. She’s cold and emotionally overwrought. The legendary lover who can’t stand being touched.

I hate her for her resistance to new ideas and love her for her devotion to the old ones. I hate her for her intolerance and love her for her pride, even in her ugliness. I hate her airport.

Paris hates America for being exactly like her. She’ll never admit it. Paris ain’t takin’ no shit, and can’t take “yes” for an answer. Her favorite pastimes are protest and pop-culture consumption. On TV and in the movies she talks and talks, but on the street she won’t even look at you.

Paris gave us Serge Gainsbourg and took jazz from us. Paris offered us Les Rita Mitsouko and took Billy Crawford off our hands. Paris gave us cinema and mimes.

Paris wants us to know that she’s the most beautiful city in the world, has the best food, art, and fashion, is ultra-romantic, but doesn’t want us to visit her. Paris hates tourists–especially Yankees (and she can’t tell the difference between Canadians and Americans, unless you’re from Quebec, in which case she’ll laugh in your face because you talk funny).

What it comes down to, I believe, is that Paris has been built as a Shangri-La for French people. If you’re French, Paris is paradise. But it’s a very unwelcoming place for a visitor. I’m always amazed at how many stories I’ve heard of friends who’ve found themselves crying on a set of steps there somewhere, feeling incredibly alienated and lonesome.

It’s as common a sight as dog shit on the sidewalks. They should sell postcards with beautifully photographed images of Americans crying on the steps of the Sacré Coeur. In North America, we’re raised with the idea that individualism is a good thing, a strength. But Paris doesn’t want your opinions, your ideas, your beliefs, your look, or your spirit. She doesn’t want to be reminded that there’s another world outside the perfect little one she’s created for herself. If you enter, be French. And what can you say to that, really?

I understand why she does it. I get it. She’s protective. She resists Westernization and Americanization with everything she has. When the French voted “no” in the referendum for the European constitution a few years ago, I wasn’t surprised at all. The French don’t want to be European. They just want to be French. Paris refuses to give herself up, or to be destroyed. It took me a long time to fully understand that. And when I finally did, I left. I almost felt like apologizing to her as I was leaving.

So farewell, Paris. I tried. You make me jealous. I resent your beauty. I hate you for hating me, but I’ll always admire you from afar.

ZOMBIE ZOMBIE “Driving This Road Until Death Sets You Free”

It’s no surprise that France-based ZOMBIE ZOMBIE is about to tour with fellow French psych-outfit Turzi, because it knows its way around the cinematic-prog block. Featuring analog synth rhythms and lots of experimental effects, “Driving This World Until Death Sets You Free” is the kind of track that would make Suicide’s Martin Rev proud. The new wave of French-psych is here.

ZOMBIE-ZOMBIE – Driving

Kevin Drumm & Daniel Menche Gauntlet

Avant guitarist Kevin Drumm and psycho-acoustic master Daniel Menche tell the story of Gauntlet within 28 punishing yet enthralling minutes. Such horrorshows of electricity have been unleashed by countless noiseniks who jump out of the gates at the first second. But this duo wisely hits an emotional nerve by leaking gas fumes into the room before lighting the match. A metal guitar riff first slowly arises and circles above its prey, growing in size when the volume picks up and the distortion darkens the sky. But it’s Menche’s signature blasts of white noise that finally sear everything during the climax, leaving nothing but silence and ash.

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