This week we had the pleasure of chatting with Electric Rescue, who’s all set to release a big compilation dedicated to the 10 years of his own label Skryptom Records.
– Thanks for joining us Antoine! How are you doing right now?
I feel good because I receive many huge feedback on the upcoming projects and it gives me a lot of energy to go far.
– You’re going to celebrate 10 years of Skryptöm. How did you come to found your own label?
Skryptöm was my second label, I founded my first label during the 90’s named Calme Records, it was the first one with its first mistakes, innocence and own colour, then the years 2000’s arrived and I decided to create a new label with a more professional way of doing and new influences. I don’t know why I decided to found labels, it’s stronger than me, it just happened surely because I’m too passionate of techno.
I need to release the music I loved and my own too. So I released my music on F Communications, Cocoon, Soma and some other labels but I really needed to express what and when I wanted.
I really wished to propose my techno vision, which slowly became an electronic vision as electronica as become a part of the Skryptöm releases when we started to proposed albums.
I need also to propose my vision of dancefloor techno.
– Did you ever notice that the label’s style and vision make a transition?
Yes sure, it makes a transition around 2010. I quite the music from the 2000’s and go back to my techno roots from 2010’s to today.
When we start Skryptöm it was the period of Border Community and BPitch Control techno sounds, a more melodic and minimal time. Then 2010 arrived and the raw and deep dark techno sounds switch back for my big pleasure.
The new techno generation came back to rave roots from the 90’s with a fresh sound design, but the deep feelings from 90’s returned and we lived a new boom into raves in France, but also everywhere in the world techno took again a huge place.
Skryptöm followed this global techno evolution, I really need to evolve myself and all my projects every day, at the same time.
– Did your manner to choose the right demos (and publish them) change?
No I always choose demo like I choose records in shops, I need to fall in love with an artist. Firstly I need to fall in love with a track, then a second, third, etc. then I know I can work with the music from that him.
But it’s not the only thing I need to sign an artist.
I also need a human relationship (with the artist), I need to meet him, know him, exchange with him.
Since I’m not doing one shots, I’m managing Skryptom like a real label. I build a team and develop it deeply, I’m not only using the music from them but I also help them to build their own career, help them to send demo to the right labels. I don’t ask exclusivities because exclusivities are shit, exchanges are better. I’m building something in real time with artists who really trust me, and this thing creates a huge friendly atmosphere in the label. All the artists know themselves and could exchange more or less, it depends of the time they have for each others. But there is a really nice atmosphere in Skryptöm family. So I didn’t change my way of doing since the beginning, just the sound evolves, but not the spirit based on the rave soul.
– What did you want to capture with the various artist compilation “10th”?
I want to propose a picture from today from all the Skryptöm family on a dancefloor way, to celebrate these 10 years. That’s why all the artists from the label are here and close friends. I was really luck that all of them involved themselves in doing a huge track and it gives a nice album which I’m very proud, I really thanks them for that huge confidence.
Beside that, I wanted that people see how the label is and the passion all the artist put on. This will probably open more doors to all of them and it will make me happy, if it will happen. I wanted to make Skryptöm more serious to make this family grow up and could make some other cool projects in the future. I wanted it as a step for all the family, not for me because I’m not building Skryptöm to push my own profile, I don’t care about this, I take a lot of fun to manage it and do nice projects
– In all these years of work behind Skryptom, do you remind something particularly funny?
In Skryptöm, everyday are always fun because there is a good ambiance between all of us, it’s always an exchange of jokes and good times between the serious of work and how we build the projects, but fun is always here between works actions. So everyday is funny here, all the 10 years were fun, of course sometimes there were hard moments, deception, artists who are gone but everything is made naturally so if they leave it’s because they have to leave. But the ones who stayed really became deep friends so we have a lot of fun everyday.
– What can you tell us about your current position within techno music?
I really love the actual techno sounds, there is a lot of interesting directions which are taken by many different new artists, these give a rich panel of quality sound and I’m really happy to leave this new period for the sound. But beside this, the global ambience in the scene is not so good and relaxing. There isn’t a real unity like the one created by the techno movement at the beginning. People are more alone than in the past, and for me it’s sad, I try as strong as I can to make it different around me and keep thr vibe from the 90’s.
I’m not saying that it was better before, I’m really not into that spirit, every period has its own good and bad things but the 2010s are very good for the sound, the number of events and the party quality, but on the other side people are a bit separated, there’s less communion and “community sense” than before. Relationships in the professional scene are not friendly as before, it’s like a big scene without unity.
Of course there is a lot of people and I try as strong as I can to manage good natural and sincere relationships with them. But on the music side, I’m really excited about how I spent the last year and I’m really impatient to discover the next music steps. I really need this days to experiment new sound directions, it’s a long time I haven’t done my own original tracks because of the label’s management but I will start again during April, so I’m impatient to push myself into new techno directions and experimentations…
– Have you got any other forthcoming projects you could tell us about?
Yes of course, we have with my friends Traumer a.k.a. Roman Poncet and Maxime Dangles the first album from Möd3rn which is arriving in May: a 12 tracks album from electronica to techno, I’m really impatient to see it in shops.
I have a nice EP coming with The Driver a.k.a. Manu Le Malin on the project W.LV.S. “Misericordia EP”. This EP received a big audience with the documentary film on the Manu le Malin’s career. This track was the last soundtrack from this documentary and people are impatient to see it released.
I have also some EPs and remixes that will be published soon on different labels.
But I also plan to create a new label for my own tracks and focus on my own music. On Skryptöm it’s based on the music from the Skryptöm team, but this new label will be for my own music like a free space for my own creations, and to create a regular schedule of releases; of course I will keep my close collaborations with some labels but now I need this free field of expression. Then I’m looking for a label for my last electronica project named RE.KOD, I have an album ready and I need a home for this kind of music.
– Thank you for having spent the time to let our readers know more about your music and thoughts!
Thanks for having me here and give a bit of your time to our Skryptöm family and all my projects.
Interview by Matteo Pitton