Ever since arriving on the scene in 2006 with ‘Samba’, Paul Ritch has served up a pleasing array of tribal techno that is very much imbued with a sense of the mesmeric, and has had his music featured on labels like Drumcode, Get Physical, 100% Pure, and his own imprint, Quartz Rec. His track ‘Split the Line’ featured on Dubfire’s retrospective compilation ‘Hybrid: A Decade of Dubfire [2006-2016]’.
The Parisian has taken things in a more experimental direction with the release of ‘IIIIIIIIIIIIII’, under his audio-visual alias Kaczmarek, released on his new KCZMRK label.
We spoke to Paul to find out more about the album and the associated live shows.
Hi, Paul. Thanks for chatting with us. I suppose I might as well get the obvious question out of the way first. How exactly is the album title pronounced?
I guess you don’t pronounce it, It’s made more as a symbol, the symbol of 14 track of the album. I didn’t give any title to each of the tracks as I wanted the listener to belong to each track and make his own story with them.
This marks an artistic change for you, both in the studio and in the club. Had you always considered trying out different things?
I’m always in studio experimenting in different kinds of styles, I made many tracks that never came out and also many projects with some people that never see the light but it’s part of the process to upgrade your sound and makes thing more exiting for you when you are in studio, it’s also part of the creation.
What initially interested you in using 3D spatial audio techniques? Certainly, the music on the new album already lends itself to a cavernous, cathedral-like aural experience. Was an attempt to make this a deeper, more immersive experience your aim, and what else can we expect from the performance?
A friend called me like 2 years ago and told me he had a friend that created a software to spatialize sounds in 3D and I should come to the studio to have an eye on it because he could be interesting for my live set. Once I’d been there I was blown away, it was a real sensorial experience, you have to understand that usually when you perform you have stereo listening and with this technology you are surrounded by the music and you have the control of the movement of each elements of the track you want. During the show, we will also have a 360 visual projection made by Carla Chan who also released a video clip. As you say a total immersive experience.
Your music is very much inflected with layers of abundant percussion, and other extraneous sounds. Do you use your own samples or found sounds to help craft these noises?
I use a multitude of hardware and software to elaborate those sounds and put a lot of different plugins in series which sometime cause the unexpected and that will be the one.
You are due to play at Database’s 1st birthday party in Romania. Club culture seems to be in fine fettle there. Is this something you’ve noticed?
It’s actually my first time at Database club, I have recently played at Time Shift Festival where I met Cosmin who is the owner of the club. He really enjoyed my set. We had a good discussion this night and he proposed for me to come to play at his club.
I’ve played few times in Romania before but it’s never really been a big place for me to play there as techno is not that big, so I didn’t know what to expect but at the end the party it was insane, people was so warm I really loved it.
There has been quite a lot of disappointment in recent times regarding Parisian anti-noise legislation, with one blogger claiming that Paris is threatening to become the ‘City of Sleep’. Has it affected you as a DJ and have you experienced a demonstrative effect on the scene in general?
I see this is an article from a year ago, to be honest I never heard of this. I didn’t see any change regarding noise in the street. I just see more and more people going out. From my point of view Paris is one of the cities if not the city that developed it’s electronic scene in the 3 past years. There are so many parties going on and some new clubs open and they all have a big time crowd all the time.
Do you have any stipulations when signing artists to Quartz?
I’m really looking forward to have someone who’s got their own touch.
What were the pieces of music or the artists that switched a young Paul Ritch on to electronic music?
I don’t think about it too much it come naturally you know. For now, I am working on 3 tracks with Giorgio Gigli, I was playing with him at Goa Club in Rome and we stayed in touch and decided to try making track together and now they are almost finish.
You played a b2b with Secret Cinema at Gem x Loveland’s huge ADE closing party. There is a certain exciting dynamic in a b2b that adds a healthy tension to things, thus enhancing the excitement factor. Do you see it this way?
You know, about this b2b with Secret Cinema, we have meet few times and we always had a nice feeling together. So, when he proposed me to play with him I was really happy and excited. I arrived there with a selection of tracks but without having prepared anything, I had the feeling that it will be special and would be nice to let the freestyle talk, and I have to say it was one of my b2b highlights. We really had a big time session.
Are there any clubs that you regard as special and always look forward to playing in particular?
Anyone that have a warm crowd and welcome me.
Will you be stepping back from your work as Paul Ritch in order to drive the Kaczmarek project on, or will you be happy to ride both horses?
Nope, I am gonna ride both, they help each other to progress.
Thanks for chatting with us, Paul, and best wishes for the new project!