DECEMBER 2005/INTERVIEW/CERRONE

Back in the seventies dance music was an unchartered territory, with only it's predecessor the shiny euphoria of disco indicating that more was to come. Certain producers, however, already had a vision of the future, and that future was driven by synthetic rhythms, superbly produced beats, and not just a little darkness.. you may know one of these people. He is the creator of the global phenomenon "Supernature" as well as a multitude of other classic futuristic disco hits. His name is Jean Marc Cerrone, and you know his work, be it from the samples and citings of such luminaries as Kevin Saunderson and DJ Hell, or perhaps from his most loyal subject Bob Sinclair who has made it his business to make Cerrone into the patron saint of disco and a French legend in his own time. His current revival offers the unique opportunity to catch up with the man himself and discover some novel insights:


Alongside Giorgio Moroder, you are considered to be one of the creators of Eurodisco. What was your vision when you were creating your sound?

I didn't have a specific vision. My unique goal was to advance rhythm with, (being a drummer myself), a kick drum high in the mix, while retaining a sexy sense and melody.


Your style of production is very stripped down, very minimal and very dark by disco's standards. Your music also seems to have a futuristic approach for its time. Who and what were your inspirations when first pioneering this sound?

This is difficult to answer, but, amongst a few others, Kraftwerk interested me greatly during the mid seventies. The importance for me was to stay original in the market. Synthesizers were a new thing, like walking on the moon... Playing around with the variety of sounds allowed for rhythmic discoveries that flavoured my style, I suppose.


So what is Supernature about? It's (presumed) thematic clash with the usual disco discourse of love happiness and hedonism seems quite considered. Was it a statement you felt driven toward making? Do you think that a track like Supernature has renewed relevance today and could in fact be applied to the problems that the globe is facing due to human mis-handling?

"Supernature" has never left the market after more than 8 million in sale. More than ever today, I believe the song can still speak to all generations throughout the modern day, that is. To answer your question, yes, I'm proud to say that Supernature has renewed relevance... because problems and issues stay the same but dress themselves differently...


It has been documented that when your record company first heard Love in C Minor, they told you to mix the track again since they thought that the bass drum in the foreground was a mistake of some sort. Is this true? What was your reaction?

I stayed patient, I waited until opinions changed. I knew myself to be headstrong so I didn't budge. The eventual sales proved my point in the end!


"I don't produce records to press up my musical ideas to any minorities. Musical desires of that kind should be better practiced at home in the cellar. For me it is more important to make music that appeals to broad audiences - I intentionally want to work commercially. Why this is tabooed by so many people doesn't go into my head." Cerrone.
Do you still believe in this quote? Are you aware that after appealing to very broad large audiences, your work has also managed to appeal to an elite these days and that you are now also a cult artist as well as a world famous producer and performer?

Thank you very much! I believe the cultish trend attached to me is thanks to the important number of DJs that have sampled and remixed my work. As far as the quote goes, I stay with saying that there is no shame involved in appealing to the masses. I, on the contrary, would rather imagine thousands dancing together in unison, rather than not dancing at all.


Apart from your music you are also known for your inventive and erotic album covers. As well as the expressive cover for "Supernature" (where animals' heads replace the human heads of otherwise naked women), in keeping with the generally hedonistic, somewhat sexist feel of disco many of your sleeves also feature naked and semi naked women. What statement were you trying to make with this or was it simply aesthetic? Do you ever feel that you trivialised women in any way to feature them in such submissive roles?

There is no better place in the world than in the presence of women. It is I who take on the submissive role!! As for making a statement, it was one which con corded with the times. France was very sexy then, much like today and I wanted that aspect of the times to show and reflect itself as part of my inspiration as a composer.


How does it make you feel to have inspired a whole new generation to use your dark disco sounds in their own musical excursions?

Absolutely fantastic! These results over the years have proven themselves fruitful. I feel truly fantastic in knowing that I have left my mark (however drawn) on the industry.


You've been hailed as an inspiration and in fact remixed and re-released by many including DJ Hell, Kevin Saunderson and Bob Sinclair. Have you met these guys, what was your feeling about their projects?

I know Chris (Bob Sinclair) very well; I have not met DJ Hell nor Kevin Saunderson but I feel ecstatic about their projects, of course. I don't see how music could progress or move or change at all if it didn't have its earlier strings attached somewhere. As far as Sinclair goes, I'm proud to say that he studied my discography very well and evidently so, created his own particular sound from it. As my stepping stones were there to influence me, so are today's stepping stones (such as I for Sinclair) there to influence.


What kind of music do you listen to now, is there anyone doing anything that you find incredibly innovative or appealing. Has your musical taste changed dramatically since the days when you were first starting out?

As far as innovation goes, all innovation interests me. It parallels, in some way, what I attempted on synthesizers in the earlier days. My musical taste has amplified, if you want, but not truly changed. All that includes rhythm, however interpreted, interests me. From RnB to Dance to house, Electronic house, down tempo, Funk, alternative funk, etc...
Rhythm with carried melodies, preferably speaking of love...


You've been credited with producing a sound, which led to the very earliest house records. Would you agree? How did you feel about the advent of house?

I became well accustomed to house. Something told me it was there to last and to take ampler forms. House allowed for people to share music without words, therefore allowing for greater freedom of expression. That alone is beautiful and inspiring. I also think, as I said earlier, that nothing comes forth alone. Whether it be a concept, a riddle or a song. The advent of house was somewhat predictable, and was to be paralleled with the advent of the net. Global conversation, I feel, allowed for the opening of solid electronica such as house. Bravo to that!


You are not known for shying away from serious concerns within your music, such as the sci fi horror of Supernature or the socio-political spirit of 'Je Suis Music', something that many contemporary producers seem unbothered by. Do you think it is important to use accessible popular mediums to put across ideas and messages that may otherwise go untackled?

Absolutely. You must give way to expansive mediums to assure being heard. Seeing as I am in the musical traffic, I chose the albums and song titles carefully in order for them to speak further than I could have done alone, in an interview for example. Therefore, in answer to your question, yes, most certainly, it is extremely important to use popular mediums to get ideas across.