On your website, the first thing one discovers is "High tech funk & soul since 1994." That's an original definition for a DJ and electronic music producer. What lies behind these concepts?
The concept of High Tech Funk didn't originate from me; it comes from Detroit. However, I must say that it's a concept I identify with in relation to the music I try to create. Funk is a genre I always strive to integrate into my techno productions. The idea isn't to make techno with funky sounds but to capture the spirit of funk in my tracks. I added the term "Soul" because I also aim to infuse soul into a significant portion of my tracks, which means something that touches on emotions.
Jean-Michel Jarre describes your music as not being post-Detroit but as emotion. Have you always followed your own path without being influenced by current trends? How have you managed to stay on course in this way?
It's not easy, and contrary to what one might think, it's not something that happens naturally. Naturally, one tends to adapt to evolving trends to try to stay "up to date." And even though I try to evolve in terms of technical means, in the spirit and philosophy of the music I compose, I try to remain true to myself, to continue making music that is close to what I've built over the past 30 years. This means, to give an image, that I've constructed a sort of circle representing my music, and within that circle, I try to go in all directions, to be as creative as possible within a defined territory. This limitation forces me to push my creativity to never create the same track twice and also to maintain a true identity because, for me, a good artist is one that can be recognized among a thousand. I'm not saying I've achieved that goal, but it's the compliment I receive most often about my music, and it's the one that pleases me the most.
Speaking of Detroit, the sounds of Motown, as it's also called, are inherent in your musical creations. How would you describe the sound of Detroit? And how would you describe your own sound?
For me, it's not a question of sound but the spirit of this music. It's precisely the type of emotions one can feel when listening to the music we create, whether it's from Detroit or elsewhere. It's a kind of nostalgia mixed with hope that you can feel in the chords and harmonies being played. It's the use of all the constituent elements of a track converging toward that goal. It's music that touches the soul but also has the power to move, both emotionally and physically. It sounds simple when put that way, but it's a very difficult alchemy to achieve because it doesn't get built like a house, brick by brick, or like a cooking recipe, ingredient by ingredient. You have to construct a harmonious whole while thinking about it as a whole very quickly.
In June, you released the album "101," named after the famous Roland synthesizer. On your Instagram page, we learn that it was "time to create an LP in honor of the Roland SH-101." Can you tell us more about how you put together this album?
I have always used the Roland SH-101, and Laurent Garnier likes to tease me about it because I almost proudly tell him when I send him a track that doesn't contain any SH-101 sounds. It's a magical synthesizer for me, almost alive, organic, with such a wide spectrum of sounds. You can do everything with this synthesizer. Sometimes I almost feel like I can make it sing... Its basses are monstrous, its unique portamento. It's truly a central element of my music. I'm not sure I would have had this career without discovering it. For the album, I went back and found tracks that I consider to be my classics, old tracks that I had never released, and new tracks. I don't think it's too obvious, which makes me think that the whole is coherent. I absolutely had to release an LP that included my SH-101-based tracks. For this LP, I leaned more towards club tracks and relatively minimalist ones. I should be able to make another one based on more complex and melodic tracks in the future.
You recently announced that you will be performing live in Angers on October 21st with the audience of Modern Factory and Le Chabada. This will be an opportunity for people to see you live and hear your creative work in person. We can imagine that such an event is carefully prepared. Can you explain how you prepare for your live performance?
For this new live show, I've decided to do without a computer. I've opted for the Akai "Force" as the central piece of the live show (sequencer, sampler, effects). I've never had as much fun live as when I was touring with an MPC and my SH-101. The idea is to go back to that kind of setup while benefiting from current technological advances. In terms of content, I've decided to incorporate many tracks from my catalog throughout time. Almost a journey between 1998 and 2023. Presenting my music through time, again with a focus on club music. We'll transition from my melodic worlds to my more minimalist and very techno worlds.
When we talk about Fabrice Lig, we also mention Rockerill. The site of the Forges de la Providence has been converted into a venue for alternative concerts and exhibitions, to the delight of the festive public. Rockerill is truly a cultural and musical institution in Charleroi, Wallonia, and Belgium that we take pride in. What do you think makes this place so exceptional?
Here again, it's an alchemy that makes the place unique. On one hand, the architecture of the factory is unique and raw, but within that rawness, you can feel the soul of the workers who suffered there. So, you find a form of nostalgia for a time that was both glorious for the location and the region and challenging for the individuals who worked very hard to make that industry so prosperous. Additionally, an essential element is the team behind the Rockerill project. They are music enthusiasts, but above all, individuals (Globul and Mika, the managers) focused on human relationships, the history of the place, and their city, and this is evident not only in the way they manage the venue but also in how they make it a human place, a source of social rejuvenation. Artists and the public can feel it immediately upon arrival, and that's certainly what has contributed to the longevity of the place and the artistic project.
And when we talk about Rockerill, we also talk about Flashforward. The new season starts with a great headliner, Marcel Dettmann, resident of the famous and legendary Berghain club in Berlin. We'll also have the pleasure of listening to Lefto Early Bird, Red D, Tiga, Gheist, Acid Arab, and Helena Hauff, among others. That's really something big! Can you tell us how the concept was born and what makes it possible to have such impressive bookings today?
All of this has been built over 20 years. Globul and I have always organized parties in Charleroi; it was important for us to develop things in our region, especially because we were convinced that Charleroi's soul was suited for techno due to its history and inhabitants.
In the beginning, Rockerill didn't allow us to invite big artists, but we brought artists we knew and who always had that techno spirit, whether they came from Detroit, Berlin, Brussels, or Ghent. Over the years and with the development of the venue, we could afford to invite artists we loved, respected, but whose reputation meant their fees were higher. We've always invited artists we were fans of, and we've always prioritized booking people who shared the same vision as us for electronic music and human relationships. Today, with the rise of festivals and the insane increase in artist fees, it's becoming increasingly difficult to invite all the artists we want. Clubs are not always their priority. Fortunately, some artists remain faithful to the spirit of this music, which cannot be separated from club culture and the close and communal relationship with the audience. It's with these artists that we work.
Back to Fabrice Lig. You've released music on some of the most renowned labels in the electronic scene, such as KMS, Planet-e, R&S, F-Communications, Motech, and more. Could you give us a glimpse of some of your upcoming releases?
I don't have plans in terms of my career or releases anymore. Music is an important part of my life, but it's not the only part. That's precisely the trap I didn't want to fall into if I wanted to remain true to my values and philosophy of music. Money should not be a motivation, at the risk of compromising the sound I've built over the years. In the late 2000s, I went back to school to teach philosophy. I love teaching, so it wasn't difficult for me.
I'm still working on tracks, but without pressure on the release timing.
However, I do know that a remix EP will be coming out soon on Elypsia. Tracks from my album "The Mental Bandwidth" remixed by Plaid, Cynthie, and Truncate.
And what do you do when you're not making music?
As explained earlier, I teach philosophy in secondary education, but for the past three years, I've also started another project in which I develop educational tools to teach respect for animals in classrooms. It's a calling I've had since childhood but had to set aside because my music career took up too much of my time. This project takes up a lot of my time now, but I'm highly motivated for it.
As a long-time artist in the scene, how would you describe the current Belgian electronic music scene from your perspective?
The assessment won't be very positive... Clubs are dying, and festivals are dominating everything. Money has taken precedence over artistry, with a few exceptions, leaving little room for original artists. Image and showmanship matter more than the music itself. In all of this, there are still small gems that shine, but in a world of glitter, their light sometimes goes unnoticed. Fortunately, there are still strongholds like Fuse and organizations where art still has a place, such as C12, etc. In the past, this was the norm; today, they are exceptions.
I say this without much bitterness because it's normal for habits and leisure activities to evolve and change. What saddens me the most is that this evolution is largely driven by financial parameters rather than artistic considerations.
Finally, if you had the opportunity to convey a message to your fans, what would it be?
I would tell them that true artists are not always the most visible and extravagant on social media, that the number of followers is not a relevant measure of quality, and I encourage them to look beneath the surface and beyond trends to find interesting and original artists. If they are looking for other artists like me, they have to make real efforts to search for them but also to support the artists they like in the various ways available to them.