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Recloose, awaiting an album.

There is really no certain corner in which to place Matt Chicoine and the music he creates. It would be to simplify if one was saying that the 12-inch releases on Planet E automatically should define what he does in a certain genre, because what so far have found its ways from the initial idea to be pressed into black vinyl is a massive variation of beauty in combination.

15 Mar 2002

(This interview with Recloose was orginally written for a Swedish webzine by Patrick Torsson ( patriktorsson@hotmail.com )

There is really no certain corner in which to place Matt Chicoine and the music he creates. It would be to simplify if one was saying that the 12-inch releases on Planet E automatically should define what he does in a certain genre, because what so far have found its ways from the initial idea to be pressed into black vinyl is a massive variation of beauty in combination.

Chicoine has soul. He puts, sacrifices and dig it down in his work. The result is something you do not want to repeal; there hangs a latent feeling of that the listener is what's prime and that the communication should remain open. The music in through the ear and the respect in the reversed direction. It strikes the heart and it burns. This is music that does not make its justice on giant dancefloors where all the fragments risk to drown in a human-generated howl. Instead these are harmonies which comes to their full right if they slowly are being feeded through hermetically sealed headphones, where the listener recommendly disconnects the whole world, lighten down his or hers room and let the stereo-spectra paint the eardrum in a warm terracotta nuance.

Obviously it should not be denied that Recloose means music you can and want to vibrate along. "I can't take it" in its original version or remixed by Matthew Herbert or the god of Planet E, Carl Craig works as an injection of morphine in a curious body with static feets. Aswell as "Soul Clap 2000" or "Get there tonight", from the "Spelunking"-EP. But still there hangs the threat that all the almost inaudible details in the structure, the ones that equals magic, will disappear.

When Chicoine radically decrease the tempo to the speed of a snail and doesn't fear to take his full step out in the universe of sounds, everything results in pure beauty. "Absence of one" on the flip side of "Can't take it", is, as an example, something you could compare to the soundtrack of waking up. "Insomnia in dub", from the "Spelunking", is as well a moment of a state, a feeling you find hard to define.

This is techno that can make you cry. Therefore it's not techno. And as a result of this you are standing at the very end of a pier of definitions and realize that the answer is not piled under your feet, but instead far out where the heaven crashes down into the sea.

It is March year 2002. Recloose travels Europe, spin records and is answering e-mails.

Q: Is the Absence of one-tune dedicated to someone special?

A: Well it was sort of pre-love yearning song, like a cosmic signal to the person I was meant to meet but hadn't met yet (hence the title, absence of one). Luckily she's heard it...

Q: How do you feel about Spelunking, looking back at it?

A: I'm pretty proud of it even though I'm usually my own worst critic. I think it really came together, the tracks compliment each other, and it was my first concerted step towards finding "my" sound.

Q: When did you realize that the art of creating music was exactly what you ever wanted to do? Early stage or after you released something that generated feedback?

A: As a DJ, I began to feel limited in what I could do creatively. So I moved to production, which was for myself and a lot of people a logical step. It wasn't until Carl Craig called me after I gave him a demo that I thought the music I made might be interesting to somebody...

Q: Do you hear tunes in your head, which you try to track down, or are all songs initially just one sample, around which you build the landscape?

A: All, sometimes it will start with an idea in my head, sometimes a single sample, sometimes a set of chords, and sometimes a feeling.

Year 2001 he released a mix-record on Belgiums Eskimo Recordings, a record that almost to 100% contains the tunes of other artists, and from the beginning was meant as something he used to promote himself as a DJ. The songs stretched from various extensions , but was compiled in a very elegant state; Recloose do put a lot of work in finding records in the same tune to feel comfort with eachother when he is DJ:ing. He had among others included Brooklyn-jesus himself, Kerri Chandler, and the mellow houseduet Kemeticjust.

The very same year he did visit a dance-tent at the Swedish Hultsfred festival where he boiled together such things as flipsides from Sonar kollektiv, Afronaught-blasts and Omoa-releases so that the spit from the drums poured out from the speakers. And also here we got that tuning-thoughts verified. And also here a Kemeticjust-12" found its way to one of the turntables.

Q: Did you enjoy playing at the Hultsfred festival in Sweden in the summer of 2001? Did it feel like a good set and that the crowd was supporting you? Was it your first visit to Sweden?

A: Yes, it was cool, but maybe I should have played before Miguel Migs as I think I played a bit less-crowd pleasing music and more of what I wanted to play. I thought the set could have been better, but all in all it was okay. And yes, it wa my first time in Sweden. Next time I'd be into a small club and then I could maybe vindicate myself!

Q: How much does Kerri Chandler mean to you?

A: I have a few of Kerri's records, old and new. He's a wicked producer who is consistently on point and who I need to learn more about and hear more from.

Q: Do you have any special relationship to Kemeticjust except from that you seem to like their music?

A: I know Justin of the group. he's actually in Amsterdam right now with me. We played a gig last Friday night at Pardiso and had a blast tag-teaming. Very cool and talented cat who was good enought o sing on 'Ain't Changin', the first single off of the album.

Q: Which, except from you own songs, is your favourite tune all time?

A: Thats probably too hard to answer decisively, but maybe something off of Coltrane's Giant Steps album. That was my musical pacifier for a long time...

Nowadays Matt Chicoine spend his time on New Zealands northerly island. In a landscape formed by 200 million years old earthquakes he's been awaiting the magical date in May, when his highly awaited debutalbum will be released on Planet E / K7 records.

Q: How do you live in New Zealand? House? Apartment? Do you track down a lot of the final product at home or do you use a separate studio?

A: I live in a house on the beach. Its the coolest place I've ever lived. And my studio is in my home, so its a place where I spend much time concoting new sounds

Q: Do you play a lot in New Zealand? Do you run something clubby by your own?

A: I have a residency at a bar in Wellington called the Matterhorn. Every Saturday night we get shitty and play mad eclectic tunes for the kiwis. Always a whole lotta fun. These guys have also just put on an MPC (akai) championship battle of the world, check the website (http://www.matterhorn.co.nz).

Q: I there a continous movement between New Zealand and the States for you, or do you tend to spend more time at some special place?

A: Its too far too bounce back and forth unfortunately. I've lived in NZ for 5 months and will go back to the USA for the first time next month. But as far as I'm concerned I think NZ is the place I'd like to stay for awhile...

Q: Will your album consist of all new material or will it include stuff from what you´ve released so far on planet E? Will there be separate 12-inch-releases from the album?

A: The album consists of 8 new tracks and three previously released tracks (Can't Take It, Absence of One, and Get There Tonight). There will be 3-4 singles released, the first being 'Ain't Changin' which will feature remixes by Carl Craig and Orin Walters.

Q: Do you get a lot of requests for remixing other artists work?

A: Yes, I do. I just finished a remix for Vikter Duplaix and one for Frankie Valentine. But now I need to take a break from the remixes and work on my own stuff, maybe a followup album so people don't have to wait four years again...

Q: Are you a very busy man nowadays? Yes, a bit too busy. At least until after the album comes out...

Q: Do you get a lot of records for free? Are unsigned people sending you their stuff in hope of you trying to arrange some contact for them?

A: I don't get too many promos is New Zealand. But I do still get demoes from time to time. And a few times I've been able to hook producers up with the right people on the other end. I'm currently putting the word out on some friends in NZ called Joe Dukie and DJ Fitchie (AKA Dallas and Mu). Good responses so far, hopefully something will come of it...

Q: Do you have any idea of how much your records have sold so far? Do you know how many copies have been pressed of each?

A: I have a ballbark idea and its less than Britney Spears.

Q: How do you feel about the future in dancemusic? Do you see something special happening soon? Will something die?

A: I hope producers feel comfortable enough to make music more experimental, more spaced out and have the courage to bring the crowds with them. Music is really boring when its obvious, and I think as we progress the music will open up more and resist 'pigeonholing' and genrefication.

Q: Where would you prefer to have the release-party for your forthcoming album?

A: Tough one, but probably Detroit even though not too many people would show up there (super underground...).

As a summary you could say that even though Matt Chicoines fully booked schedules, he still spots time to answer some 20 questions to a text that will not be published in the best-selling, globally covering magazines.

This should cut the illusion that most artists belonging to Detroits New Wave-scene is hard-to-deal-with bastards who takes their music too seriously.

Recloose is in fact a sweet guy.