Interview with Le Moderniste

Le Moderniste has proved to be a very eclectic project by releasing interesting and various albums, ranging from rhythmic noise to death industrial (with his releases by HANDS) to electronic / techno music with his side project Kaibun. With the last album Imbalsamazione released by Italian Infidel Bodies he pays tribute with his personal touch to Italian industrial music masters. Here Laurent proves once again to be an artist capable of working with very different sources while reinterpreting genres, being a “modernist”. Just as Postmodernism has mixed together and reinterpreted elements of the past. That’s why we’ve talked with him about his music.

Hi Laurent, it’s a pleasure to interview you on our website! I’ve discovered your music with the very good Desistere mortem timere, released by HANDS some time ago, and since then I’ve followed the release of your last two albums, then I’ve listened to your early releases. What can you tell us about the project Le Moderniste?

Le Moderniste idea is born in 2006 after some unborn projects. During those 11 years of existence, I have tried to breed Le Moderniste’s music conception by creating an honest and very personal project (I don’t try to give something I’m not, i hate posers attitude and lies). Why I create what I do? I use this project to purge myself from black ideas and life nausea… I give my reality and people with the same point of view or just feeling the same sickness are more open minded to what I compose. I try to create something uncomfortable and sometimes painful for me as for the listener. A musical taste of non consensus! This is what Le Moderniste is : myself without any filters.

What I consider an added value of your music is that you never repeat the same album twice, always obtaining an interesting result. Your approach reminds me of that of those artists who use different media to express their idea. First there was the rhythm’n’n noise, then death industrial, then Italian power electronics influences, without considering the kaleidoscopic project Kaibun. You’re not an artist easy to define with a single genre. Do you agree with this non-definition?

I totaly agree with your non-definition. I don’t only use music to express myself: i do etching, lino/wood cut, i paint and in those cases i use to make a “serie” then i make something totally different but with my own touch and vision. In music it’s the same, i have no plan when i traduce what’s in my mind at a certain moment.

I have some musical projects, they evolve differently like living entities. I’m working at this time on Kaibun and Glokkohm, there’s an evolution for each one but not in the same way and with a personal structure logic. It’s schyzophrenic but true.

Let’s talk about Imbalsamazione, released by Italian Infidel Bodies. Many of the song titles are in Italian, it’s a sort of tribute to Italian industrial music musicians without losing Le Moderniste touch and music style, which, according to me, emphasizes some death industrial elements of the previous album. Do you agree with this last consideration?

It’s exactly that. My music follows a natural evolution, so yes, you’ll find always something from past works. Some people find in Imbalsamazione the same musical expression they feel in Modern Struktur? (first Le Moderniste demo from 2009).

For me that was very important for this project to follow all the codes of the italian industrial death culture. Infidel Bodies understood that and they helped me to concretise something really strong and true. It’s a label running by people animated by passion. I remember all the ideas Marika had for the packaging, the cover,… They are full of imagination! They work in the respect of the artist with a real profesionalism. Their first release was so impressive for a first one, that can only inspire respect. I’m not always appreciated by people because i don’t give easily friendship and trust, it’s the reason why i can seem cold and distant with people with who i don’t feel anything. I meet here people i really like and with whom I want to stay in touch for so many profesional and personal reasons. Thanx again to Infidel Bodies for making Imbalsamazione real!

According to me, Imbalsamazione has a Black Metal attitude and atmosphere, while always being industrial music. Have you been influenced by it?

I’m very influenced by Black Metal in the approach this genre has in his atmosphere. For Imbalsamazione you can clearly smell some Black Metal emanations. I think this kind of music -as death industrial- is a genre where you can’t lie to the listeners… If it sounds “false” with no real intentions you feel it directly. If you don’t trust in what you do, that can not work and it sounds simply shitty/cheesy and ridiculous! It’s easy to name your songs with dark names and wear costumes but it’s really hard to be honest and give to the audience a part of you, to present your own demons…

I know I’ve asked you this some months ago, but the readers can be interested in knowing your music influences and not only about them. 

The first years of Le Moderniste were very influenced by artists I admire like Patrick Stevens (Hypnoskull, Sona Eact, Sonar, etc), Nigel Ayers (Nocturnal Emissions), Marco Corbelli (Atrax Morgue, Mörder Machine, etc), Rozz Williams, Esplendor Geometrico (early years), Dirk Ivens (early Dive),  Mikko Aspa(Grunt, Nicole12, etc). I think it’s always the case today more or less. I listen to a lot of music, you can come when you want in my house there’s always music. I listen to many kind of music, now on the plate this is Gidge (Lnlnn album). I just buy Ron Morelli Backpages EP, and Mania Foul Inside.

What does “modernity” mean? What does it mean to play “modern” music, to be a “modern” musician? What’s Le Moderniste idea?

It was more or less ironic or cynical… I used to create Le Moderniste as a fucking old school rythmic industrial project… There’s nothing modern in Le Moderniste, i use analogic stuff, i use to unfollow trends, I construct a loop and run it throught monotonal aspect, etc. But if i can explain my point of view on what’s being a modern musician, i can say that if you want to do music with a certain label (noise, rock, rhythmic noise,etc) you’re just out of date! A modern musician is the one who can mix many kinds of sounds and approaches. You must fuck up all the rules of a genre and make something with attitude. Don’t respect your music: if you like your music you’re not able of questioning your art, don’t do music for social recognition: as too many you finish by making shit for the pleasure of a small audience, don’t try to sound as someone else: be yourself and don’t sell yourself like a whore to the altar of trend and pseudo fame and the more important try to be always on the razor’s edge, push your limits and keep a sensation of danger in disorienting the few who listen to you… Put yourself and the others out of the comfort zone!

How can mostly instrumental music such as yours deliver the messages contained in your song titles to the listeners? How, in general, can electronic instrumental music deliver some messages more than other kinds to the listeners?

Synthetic music is for sure one of the most human and emotional i kow, I have no answer for the reasons why… maybe using cold or neutral sounds is the challenge when you create your music with the heart and that you try to express something specific… People feels what’s behind the sound and will follow you on the path you create. I know that some doesn’t care about the titles and it’s a good way of thinking in most case but sometimes the titles are more than an help to understand a message, it’s a hand given to plunge the listener into the sounds and to drown him with you and your music.

When will you bring your album live? Do you think it would be good to bring it on a live performance?

Don’t know, i’m not invited to play anywhere at this point. I think Imbalsamazione can’t be played live in his actual shape because it was a long recording during one night and some adds and a mix in a second time. I think that what can be done is an experimental show with the same vibes that during the recordings for a total random sound and some pre recorded loops for the tracks i have wrote lyrics. A kind of twin of Imbalsamazione at each show with some similarities and a lot of differences.

We can’t not talk about Kaibun, and in particular your new album released by HANDS on April. What differences are there among these two projects? Also, Kaibun doesn’t repeat the same album twice and the first one was more rhythmic noise-oriented, while the second is different, very complex, a sort of novel put into music. 

Kaibun is a duet and is less introspective… I mean that each Le Moderniste album ask me a lot of energy and drives me in negativity. It takes time to cut my emotional links to the creature. Kaibun is more a kind of meeting with my girlfriend Marie and a sharing of ideas and emotions… I can’t bring her to my pathos, it’s the reason why she left Le Moderniste on stage… she doesn’t feel alright with the messages behind the sound. Kaibun first album is a souvenir of past time made of excess and parties… It was like: “yes make the sound faster and harder and give me an other beer!”. Years after, we want to make something else, something like a movie score… At the begining we are not sure that this album can be released under the moniker Kaibun… But after relexion, the fact cames to us that Kaibun is us and that Gloomy Alice and Sinister Jack must be realeased as Kaibun.

Do you prefer recording in your studio or bringing your music live to an audience? Which are the pros and cons?

It depends of many factors. There are some tracks that i can’t play live for technical or personal reasons. But recordings and live are so different that i can’t make a choice… During recordings i face myself
and I manage my resentments. Live acts are like battle where i must stay connected to reality and not just fall into an abyss of darkness. If you know me, you’ll be able to understand why I prefer to leave after my shows or take time and see nobody for a moment. I’m not able to speak with people and be kind just right after a live act… But, yes, i really enjoy the symbiosis and the synergy during a live… And music is created to be shared and to be played live!

To be honest i’m not often invited to make live acts. I think Le Moderniste is not easy to put on a line up, the same for Kaibun, Glokkohm, Purging… Not easy to put Kaibun after a funny, danceable project. Not easy to put Le Moderniste after a pure noise artist… I think that the actual techno scene is the one who don’t know me very well but where i can find a place to play live. Strange to say that but it’s the scene who mix the most differcified influences.

Would you like to play in Italy?

For sure! I love Italy, her history and her art (old and contemporary). It’s far and often hard for an organisation to pay the travel, the hostel, etc The most easy thing must be to make a short tour in Italy and to propose the choice between Le Moderniste, Kaibun, Glokkohm and Purging. If somebody read those lines and is interrested feel free to contact me via facebook.

Thanks for this interview. If you want, greet our readers. I wish you all the best!

Thanx to you and your readers that like or hate Le Moderniste. All energies (positive and negative) are welcome! I really hope to come in Italy and share with you my music!