INNERVIEWS 001
CLARENCE RISE
"We've already read that his music is dark and cold. It's also beautiful and subtle. Over the years, French producer Clarence Rise has developed a strong, intense and singular musical identity, where incisive techno blends with chilling atmospheres. With his emphasis on complex rhythms, dark, sharp sound design and contemplative melancholy, he is a guardian of a hypnotic aesthetic as raw as sophisticated. Author of numerous releases on various labels (QEONE, Cellar Door, Indefinite Pitch, Khoros Records, Fur:ther Sessions....) and having played with some of the greatest (Jeff Mills, Robert Hood, Kangding Ray, DJ Nobu, Answer Code Request, Blawan...), this DJ and Live artist makes every performance a journey, as percussive as it is transcendent. He is also Moderator of Hypnotic Techno Circle team (www.hypnotictechno.com)"
Tell us a few words about Clarence, the person behind the artist we know, what are you doing now and what other hobbies do you have?
Clarence is the persona that represents my music career, but behind this alias is Lucas, a teacher of special needs children and adolescents. Apart from that, I am deeply connected to nature, especially forests and mountains, from which I draw inspiration and allow my thoughts to roam freely.
How do you find inspiration in everyday life to create music and how do you manage to balance the spiritual factor you need in relation with your daily routine?
I find inspiration for my music both externally and internally. This can come from observing the world around me, whether it's good or bad, exploring different landscapes, or being influenced by the sounds I hear. I also draw inspiration from my emotions at the moment, which can lead to various types of sonic experimentation, ranging from dark and energetic to plaintive and euphoric.
In this time, if it were up to you, what would you change in the music industry and what would you keep?
I have a major issue with the excessive consumption of music, which mirrors the overall overconsumption of the human species. If I could change one thing, it would be to restore the balance between recognition and quality, rather than quantity. The entire industry seems like an unstoppable race, where victory goes to whoever produces the most, and as long as the packaging is attractive (I'm referring to non-musical communication), that person wins it all. I find that very frustrating.
Tell us 3 favourite software and 3 favourite hardware you always use in your productions and why?
When it comes to software, I exclusively use Ableton. Let's take a look at my plugin selection. First, I'd like to mention D16 Group's Devastator for its infinite possibilities of adding dirt and grain to any musical element. Then there's the Slink bundle developed by Hypnus, which allows for unique organic sounds when properly coupled with other effects. Finally, there's Twisted Tool Scapes, a Reaktor plugin that's almost 15 years old; it adds a very digital touch by enabling the creation of chaotic percussive elements. On the hardware front, I'm a big fan of my new acquisition, the Pulsar 23 from Soma. I'm still trying to master it, but it shows a lot of promise! I'm also a loyal fan of the Elektron Analog Rytm; I haven't found another drum machine that's as functional and sounds as good. Lastly, there's the Reminder from Enjoy Electronics, a superbly versatile double delay with a unique feel.
We have seen that at some parties you play Live without using computer (DAW). What do you see as the pros and cons of a DAWless live PA? From the equipment you already have what you consider to be the most useful purchase you have ever made and why?
I'm particularly drawn to the genuine experience of performing live without a computer (dawless live). It's empowering to have complete control over the hardware and truly be the master of your machines. However, I believe that the allure of dawless live lies primarily in the evidence of authenticity it presents. On the other hand, employing a DAW live offers endless possibilities, especially when utilized legitimately and without any shortcuts. I'm particularly intrigued by the potential of incorporating the max4live tools into my daw live setup in the near future. At present, my Elektron Octatrack remains my top choice for live performances and serves as the centerpiece of my setup. However, it's showing signs of age, and after updating a substantial amount of my studio equipment, I'm contemplating finding a replacement for this remarkable sampler sequencer.
Clarence is the persona that represents my music career, but behind this alias is Lucas, a teacher of special needs children and adolescents. Apart from that, I am deeply connected to nature, especially forests and mountains, from which I draw inspiration and allow my thoughts to roam freely.
How do you find inspiration in everyday life to create music and how do you manage to balance the spiritual factor you need in relation with your daily routine?
I find inspiration for my music both externally and internally. This can come from observing the world around me, whether it's good or bad, exploring different landscapes, or being influenced by the sounds I hear. I also draw inspiration from my emotions at the moment, which can lead to various types of sonic experimentation, ranging from dark and energetic to plaintive and euphoric.
In this time, if it were up to you, what would you change in the music industry and what would you keep?
I have a major issue with the excessive consumption of music, which mirrors the overall overconsumption of the human species. If I could change one thing, it would be to restore the balance between recognition and quality, rather than quantity. The entire industry seems like an unstoppable race, where victory goes to whoever produces the most, and as long as the packaging is attractive (I'm referring to non-musical communication), that person wins it all. I find that very frustrating.
Tell us 3 favourite software and 3 favourite hardware you always use in your productions and why?
When it comes to software, I exclusively use Ableton. Let's take a look at my plugin selection. First, I'd like to mention D16 Group's Devastator for its infinite possibilities of adding dirt and grain to any musical element. Then there's the Slink bundle developed by Hypnus, which allows for unique organic sounds when properly coupled with other effects. Finally, there's Twisted Tool Scapes, a Reaktor plugin that's almost 15 years old; it adds a very digital touch by enabling the creation of chaotic percussive elements. On the hardware front, I'm a big fan of my new acquisition, the Pulsar 23 from Soma. I'm still trying to master it, but it shows a lot of promise! I'm also a loyal fan of the Elektron Analog Rytm; I haven't found another drum machine that's as functional and sounds as good. Lastly, there's the Reminder from Enjoy Electronics, a superbly versatile double delay with a unique feel.
We have seen that at some parties you play Live without using computer (DAW). What do you see as the pros and cons of a DAWless live PA? From the equipment you already have what you consider to be the most useful purchase you have ever made and why?
I'm particularly drawn to the genuine experience of performing live without a computer (dawless live). It's empowering to have complete control over the hardware and truly be the master of your machines. However, I believe that the allure of dawless live lies primarily in the evidence of authenticity it presents. On the other hand, employing a DAW live offers endless possibilities, especially when utilized legitimately and without any shortcuts. I'm particularly intrigued by the potential of incorporating the max4live tools into my daw live setup in the near future. At present, my Elektron Octatrack remains my top choice for live performances and serves as the centerpiece of my setup. However, it's showing signs of age, and after updating a substantial amount of my studio equipment, I'm contemplating finding a replacement for this remarkable sampler sequencer.
We would like you to tell us a funny and a bad incident that happened during one of your shows.
I can't recall a funny anecdote about my shows, but I have an incident to share: During a live duo performance with a colleague, there was no sound engineer on site in a rather chaotic setting. We had to handle our own machines and the sound system simultaneously. The previous artists had strained the speakers, and we might have been the ones to finally burn out a subwoofer. While it's unverified, I think we may be responsible!
Lately we see a lot of artists leaving agencies each one for different reasons. After all, what's the point of an agency manages an artist's gigs instead of the artist? You as Clarence what do you think about this and how do you manage your bookings?
The topic of booking agencies is quite complex, and even though I don't have all the answers, being part of an agency can be extremely beneficial when it comes to organising gigs and transportation, as well as seeking optimisation and delegation. At the moment, I am fully capable of managing all my gigs and extras independently, thanks to my meticulous note-taking and organisational skills. Nevertheless, I am always open to taking on more!
From time to time we hear the amounts that artists ask to perform in some parties which are outrageously high, as a result of this a lot of parties that don't come out financially and many organisers who aren't professionals but they have passion and love for what they do, they give up. Do you think reasonable prices from established or upcoming artists would help to keep the Scene alive?
I believe it's crucial for established artists to lower their fees in order to sustain our music scene. If we continue down the path of increased fees, it may ultimately lead to the demise of the techno scene. We must remember that techno music was never meant to be driven by exorbitant fees. However, I am hopeful that this trend only affects the most renowned artists, and that lesser-known artists will continue to be mindful of their place and the growth of the techno scene. I may appear a bit idealistic, but I remain hopeful.
Lets Supposed you had the power to change something in the deep hypnotic techno scene, what would it be and why?
The deep hypnotic techno scene is truly remarkable for its humility and respect. There isn't much that needs to change, but it could benefit from being more open to blending with other musical styles. It's already deeply engaged, drawing inspiration from tribal and shamanic music as well as other sounds from around the world. It also incorporates aesthetics from deep dnb and halftime music. Embracing this openness would be a fantastic step forward!
What's the most fun part of making music and what's the laziest?
I believe the most exciting part of music production is the experimentation and exploration of parameters, knobs, and patch attempts. This phase brings about the most surprises as it originates from chaos and emotions. However, I find less enjoyment in the technical and restrictive aspects of arranging, structuring tracks, and mixing. While I don't discredit the importance of these tasks, they lack the creativity and freedom of the experimental phase.
Upcoming releases and plans for the future?
I am thrilled to announce that I have an EP set for release on the Profundo Collective label this summer, along with another EP on the KVLTO label in October. I'm currently in the final stages of another EP for Amarou's latest label, Graver S Records, with an additional release planned for the end of the year on the Indefinite Pitch label, pending successful progress. In addition, I have three other releases in the works, with potential for release next year. Not to mention, I have a few VA appearances and a number of podcasts in the pipeline, which I am genuinely excited about recording!