Pheek- Primavera Edits [Climat 002]

Jean – Patrice Remillard, going by the name of Pheek, captivates our minds and souls with beats of unconventional beauty.
A dose of unconformity in sound acts as an incentive on the mind. So why not bring imagination to life and music to a canvas. Climat label does just that in a stylistic arrangement driven to absolute perfection.
Good things come to those who wait, therefore releases are rare. The newest one belongs to Pheek featuring collaborations with Vitiello / Deutsch / Sawako, designed by Max Binski and his blueprint of a delirious spring.
Primavera Edits is thus Pheek’s latest work. Currently living in Montreal, he started his musical career in the 90’s and keeps on creating innovative minimal sounds today. Pheek amazes us by the interleaves of opposing forces: rhythms & noises; the synchronized and the unsynchronized. These forces get on the canvas a nightly touch of green on disturbing white leaps of sonority, as imagined by visual artist Max Binski.

But why not learn more from Pheek himself in an exclusive interview for Nightclubber:

Q: Hello, Pheek, and congratulations on your new EP release! How are things in your life right now?
A: Things are in constant movement! I think I came out of a dormant phase of my life where I had a lot on my plate and I didn’t know too much how to deal with everything. Being a father changed a lot on my artist life. But the great news is, I found way to still be creative and that is bringing me a new sound, new perspective on sound.

Q: We are curious about your first encounter with electronic music. Can you tell us more about that?
A: I used to breakdance when I was about 10-12. That is in the mid-80’s. Our teacher would have a ghetto blaster and play tapes he would buy in New York. It was all electro beats (nothing to do with what people call electro now), very fat stuff. I really was into that. Before that, there was Tangerine Dreams and new Age synth stuff in the 70’s. I would dig records at my cousin’s house and play them. Electronic music had a magical feeling to me, something very sci-fi and futuristic!

Q: Your work during these years is impressive. Where do you get your inspiration from?
A: I feel really inspired by many things. I think I’m getting inspiration from inside and outside the box. There’s a lot of unknown artists that send me amazing music that really gives me new idea, then there’s also all these guys I meet that do avant-garde or experimental acoustic sounds. Nowadays I’m into Miles Davis’ live concerts too. But my main driving force is to work with Hubble. He really pinpoints that sound I love.

Q: Coming back to the present. What can you tell us about Climat project?
A: It’s a collective, we all work together and we all work effortlessly. It is something very organic and collaborative. Nothing of that could be done without one player, thus, making ourself very tight knitted in communications. I really like that we dig out artists from other scenes and show them what we do with their work in electronic music and they love it. There’s something really inspiring coming out of this!

Q: Seasonal inspiration is a bright idea. How was ICE EP perceived by the public?
A: We really worked with the people. They are our force. We are not so dependant of medias so there’s no promo sent, everything is made through social medias. We want people to feel they are part of something small and that our success is because of everyone’s input. So the feedback is beyond our expectations! Many nice words and some DJs picking up the record too. So all is great.

Q: First reactions on Primavera Edits are very good. Tell us more about the work that went into it?
A: It’s a collaboration with Stephen Vitiello from New York who is more of a sound designer, performer. The stuff he gave me was absolutely beautiful and I reshaped it into some more dancefloor stuff. I was afraid he wouldn’t like it but no, he was very open. The track “Hyperpad” is a live meditation of mine, something exploratory.

Q: How do you define the sounds of Primavera Edits?
A: Very dreamy, very David Lynch inspired. When I listen to them, i want to close my eyes and dance. This is the feeling I wish I can get in clubs, all the time. I hope people use them as tools or just in the middle of a set. I think they can do really good things to people.

Q: These releases are certainly collectables. But how do you find Max Binski’s artwork?
A: He’s a wonderful artist that invested himself in this. It was great to see how he understood what I wanted, without any explanations. I left him all the freedom he needed and it paid off. It’s really impressive for me…

Q: The Climat project is developing. What should we expect in the future?
A: There’s a Pheek album coming on vinyl and CD. There’s more collaborations… Some EEBB stuff as well and maybe Marc Neyen. I’m bringing friends on board and it’s such a party for me!


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