The day we’ve all been waiting for has finally arrived. Camp Bisco opens its pearly gates tonight for music enthusiasts across the globe to welcome in Camp Bisco 2017. This year’s event marks the remarkable 15th installment of the festival, and in my humble opinion we’re in for the best Camp Bisco to date. Sure, some people might be partial to Indian Lookout and the Camp Biscos of old, but it’s hard to deny this year’s musical lineup is one of the best to date. With headlining acts like the Pretty Lights Live Band, Lotus, Shpongle, and of course, six sets of The Disco Biscuits, it’s really difficult to make an argument against this year’s Camp.
In addition, this year’s undercard is stacked with incredible talent from across the globe. To complete our “Road to Camp Bisco” interview series, (check out the previous three with Lotus, The Werks, and The Floozies), we had the special opportunity to catch up with an artist who’s grabbing the attention of bass fans from each corner of the global electronic music scene. Chloé Herry, better known as CloZee, started producing electronic music at the age of 16 in her hometown of Toulouse, France. Originally trained in classical guitar, CloZee has brandished her knowledge of music theory since day 1 with music that boasts sophisticated melodies, insightful compositions, and sounds that push the boundaries of what’s possible with electronic music.
Her music oscillates between world bass, tribal trap, glitch-hop, trip-hop, and downtempo, but her music is ever-evolving and really cannot be contained by any sort of sonic ramification. With upcoming performances after Bisco including F.A.R.M Fest, SubOctave, Big Dub, Shambhala, Oregon Eclipse and Bass Center X, CloZee is showing no signs of slowing down. Ahead of her performance on Montage Mountain from 8:15 – 9:15 on Friday at The Office Stage, we caught up with Chloé to discuss new music, her plans for Camp Bisco, CharlesTheFirst, and much more. Passes for Camp Bisco can still be purchased online here – see you on the Mountain!
Sound Fix: Hey Chloé – thanks for taking some time to catch up with us here. With 2017 already half way done, tell us your best moments or accomplishments of the year thus far.
Chloé Herry: My 2017 highlights so far include the Biohackers Tour with Psymbionic, the release of my EP Harmony, opening for DJ Shadow at my hometown in France, and the Harmony Tour which is coming up now (30 gigs). I’m very excited to be back on the road again to play all these cool shows.
SF: Looking ahead, Camp Bisco 2017 is just a few weeks away and you’re slated to perform a set atop Montage Mountain. Tell us about your experience with Camp Bisco. Without revealing too much, what can we expect from your set at Camp?
CH: I played my first Camp Bisco in 2015, but it was during the pre-party on the Wednesday before next to the pool for people who had early entry tickets. Just a few people were here. **laughs** I’m stoked to play on a real stage this time around. I have a lot of new music to play, and will cater my set to who’s playing before and after to judge the energy of the setlist.
SF: You’re well known in the electronic music community as a talented and seasoned guitar player, so tell us about the creative interplay between the guitar and your electronic production. How has one medium influenced or inspired the other?
CH: I started the classical guitar at 11 and it brought me into making electronic music at 16. I wanted to record my guitar compositions, so I learned how to use FL Studio, which I still use now. Very quickly I wanted to add a beat, a bass, synths, and glitches to my guitar melodies, because I was a already a big fan of electronic music who was influenced by artists like Bonobo, Amon Tobin, The Glitch Mob, and Eskmo. Since the beginning, the guitar has been a very important element in my music, and you can especially hear it in my first EPs (Dubious, Jafump T / Eyes In Eyes). The guitar also brings me additional ideas when I’m in a creative process.
SF: Growing up and attending music schools in France, you must be intimately connected and familiar with the country’s electronic music scene. What type of electronic music is dominant now in France? How would you describe the experimental bass sub-culture over there across the pond?
CH: I only attended music school to learn the guitar when I was a teen. I learned electronic music by myself, and I’d say I entered the electronic music scene with my first show in 2012. From that date, I met a lot of people and started to create connections with event promoters, music crews, and other artists in my hometown Toulouse. I started to book more shows when the dubstep scene was very popular in France in 2012. I was kind of forced to play that genre and harder styles than my current music in order to get my first gigs. I was really into glitch-hop, so that’s what I played the most (Koan Sound, Kursa, Opiuo, Haywyre, etc.) but it wasn’t popular at all. It’s still not. I’d say drum n’ bass is currently the most popular bass music genre in France. Trance, techno and house are also very appreciated and you can find those types of parties all the time. The music I make now, world bass, is even less known and it’s pretty unique in Europe. It’s a good thing, but also a bad thing, as it’s harder to play shows and festivals that match with the style.
SF: Earlier this year you released the 5-track EP, Harmony, via Psymbionic’s independent imprint, Gravitas Recordings. How would you describe this new record, and how does it compare to your previous discography?
CH: I composed “Harmony” when I came back home from my Summer Tour in 2016 full of inspiration from the amazing festivals I played and attended, and also after my trip to Japan. It is the follow up to my EP, Revolution, which was more epic, dark and mysterious. The idea behind Harmony is directly related to its name: it is the alliance of many things which creates a coherent and beautiful whole. I wanted to write a harmonious musical story with all kinds of sounds and elements (digital, electronic, foley sounds, traditional instruments, real voices), while pushing the mix between world music, organic and bass music. The artwork was made by Lulu Swallow which also reflects the album. The idea of the illustration is to play on the contrasts and alliances between geometric forms and plant-organic patters, just like the music (electronic sounds and traditional instruments), which in turn recreates a peaceful atmosphere by the colors used (green, blue, yellow).
SF: While we’re on the topic of new music, us here at Sound Fix are excited about the up-and-coming producer, CharlesTheFirst, from Lake Tahoe, California. In the past Charles has remixed your music, and just a few months ago you two collaborated on a track called “The Mist.” How did you first link up, and what drew you two together to create some new collaborative material?
CH: I love Charles’s music. He’s one of my top 3 up-and-coming producers. I discovered “Roots” on his SoundCloud maybe a year and a half ago. I reposted the song, and he sent me a message to thank me for the gesture. Since then I haven’t stopped following his music, and I repost his tracks whenever I can. I very often incorporate his tunes into my sets and he told me sometimes he does the same. We both realized our music matches and mixes very well together, because it’s bassy but still very melodic with organic elements. It was natural for me to propose to remix one of my tunes “The Path To Heaven” and he proposed our collaboration.
SF: You’re in the midst of a busy run of shows called the “Harmony Tour.” Apart from Bisco, which tour stop are you most looking forward to?
CH: I’m looking forward to all of them! Really! Every show is so unique. I’m just gonna say the ones that have me really excited because of the magnitude: opening for Bassnectar twice, and for Pretty Lights. I also can’t wait to go back to Shambhala, experience my first Symbiosis / Oregon Eclipse, and Burning Man.
SF: We know you’ve been busy touring, but have you found any time to work on new music while on the road? What can you tell us here about new music in the works?
CH: It’s rare that I can find time to compose while on tour. I spend most of my time traveling and when I’m not, I have to sleep. **laughs** This year I had the opportunity work on new music back home when I came back from the Biohackers Tour in March. I spent a lot of time in the studio between shows in France, made a lot of new tunes, worked on a few remixes for Tor (released now), Desert Dwellers, and Tha Trickaz.
SF: Any advice you’d like to extend to young, aspiring producers?
CH: Please keep it up – producing music is a fabulous passion and it will open so many doors for you. Try to share it with as many people as possible, upload them on the internet, play shows, go out, meet people of the scene. Don’t try to copy anyone, do whatever you feel, match the mood you’re at in the moment, and don’t put boundaries in genres.
SF: Finally, we like to end our interviews with an open forum. Is there anything else you’d like to share here that we haven’t already covered?
CH: I have so many things to share, and I just hope to see some of you at one of the shows during the Harmony Tour so I can share them with you. Thank you Sound Fix! <3
SF: Thanks Chloé. Reminder to catch CloZee’s set at The Office stage on Friday night from 8:15 – 9:15!