Voluble, passionate, playful, Cerrone continues to fuel desire. For him, stage fright and fear constantly coexist with ambition and self-confidence. This ambivalence has always allowed him to win the bet. “Right time, Right place”, the formula condenses the reality of his crossing, it’s even tattooed on his forearm. There are the titles he has won (Grammy Awards, Golden Globes), the vertigo of collaborations, the imposing and imposed challenges, the nicknames gleaned – in the first place the hackneyed pope of ladisco – the creative, instinctive and often winning impulses. The man has crossed cities, countries, generations. Everything but deserts. His music, which has been reworked, sampled and reworked hundreds of times, has acquired a very special quality. His music, which has been reworked, sampled and reworked hundreds of times, has acquired a very special status, that of being lodged in the heart of the collective unconscious.
The tireless work of the sexagenarian around his compositions has never been taxidermy, but rather the eternal cure of youth. In recent years, strongly encouraged by his record company and his manager in this approach, Cerrone has opened the way to DJing. “I’ve taken up the game of revisiting myself. I started composing musical passages to include in my sets. These musical passages began to take the form of tracks that were 4.5 or even 6 minutes long. Little by little, and quite quickly, in a few months I totally immersed myself in these sounds that were both vintage and terribly current, and in the spirit I had at the beginning, in this case creating musical atmospheres rather than pop tracks “. He then stubbornly followed his own rules, detaching himself from marketing diktats and trends, like at the time of “Love in C Minor”. So “DNA”, because he put all his strength, his knowledge, his old and new desires into it. Because he has entirely designed everything himself, with his faithful sound engineer Richard Turek. “I always have one objective: never to look like anyone else. A declaration of intent that he puts into practice here, delivering for the first time a nearly uniquely instrumental disc, composed, produced and recorded in just four months. Atmospheric, flattering to the imagination, full of tension and cracks, “DNA” integrates the presuppositions of film music. It plays leapfrogging between past, present and future, adorning itself with fascinating, epic, moving electronic melodies. “With this album, I’ve returned to a musical period that I’d left a little bit aside, that is to say my entire electro period at the end of the 70s, with notably Supernature and the series of soundtracks for the erotic films of Gérard de Villiers, Brigade Mondaine”. This 17th issue opens with “The Impact”, a haunting track with soft entanglements and environmental resonance. At the halfway point, we hear a piece of the speech of primatologist and ethnologist Jane Goodall: “Every day we impact the Earth. We didn’t inherit this planet from our ancestors, we borrowed it from our children. If we all work together, then we can begin to heal some of the scars we’ve inflicted. It’s hard, then, not to make a connection with Supernature – Cerrone’s first warning about human behaviour towards the planet – 43 years ago.
Within this nine-track concept, with its traveling contours and magnetic brilliance, escape oppressive and saturated synths (“Resolution”), a wink to Pink Floyd (“DNA”), sound staging (“Close to the sky”, “Experience”), moist and deliciously languid atmospheres. “And what if I told you that the idea of the track “Air Dreaming” came to me just after watching a skydiving video where the protagonists were naked? When people ask me if love and sex still inspire me, the answer is of course yes. Cerrone is also pushing the Kraftwerk logic, releasing robots (“I’ve got a rocket”, “Let me feel”) on dance floors. And appeals as much to the intellect as to the guibolles. “Let me dream, let me see, let me feel.” No better mantra to circle the album.
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