mix series
Lazare Hoche

This week’s mix is from Parisien producer Lazare Hoche who spent some time with us to share his thoughts on heading up a record label, being a resident at one of Ibiza's biggest spots and his love for mid-century Italian design.

His disco-ish mix is inspired by the decaying red-brick baroque area of Pigalle, Paris. Detach yourself from the mundane and immerse yourself in the free world of deep house.

You’ve got two labels, Lazare Hoche Record and Oscillat Music. How do you juggle heading both of those whilst also producing your own music?

Juggling is the word! It’s two very different imprints, Lazare Hoche Records is the mother label for sure, it’s been in existence for 8 years now, and the vibe of it is pretty much colorful and diverse; it blends a lot of influence in there.

Oscillat Music, I founded it with Nick & Sam, like 5 years ago. We were excited to start an output where we can express our more loopy and dark sounds. Straight club tunes, no more concept. So as you can see, just by looking at the two catalogs, the two labels are very complimentary and I love curating them.

You’ve been a resident of Black Coffee’s Hï Ibiza events over the last 2 years, what’s the crowd in Ibiza like, is there different energy there compared to other gigs you’ve done around the world?

I never played in Ibiza before 2017; I heard tons of stories about the place. Very controversial underground/overground vibe to it. It’s like dropping a vinyl vs. digital discussion, or a PC vs. Console topic in a teenage forum. I wanted to check at least what the heck was up there. In 2017 the Sankeys Ibiza, with Unusual Suspect offered Mandar a summer residency, and from there we jumped to the Hï Ibiza adventure. And I really found a home there, the insane frequency of gigs in the same place for a certain amount of time, is naturally what I call a season. Making the difference as a performing artist there is a big challenge and I embraced it. I wanted to deliver my message and my music there; it was virgin territory for me. Being able to play Hï Ibiza Room 1 on Saturday night is the same as headlining an international festival, you have more than 5k people watching you, but you are in a club room, in the middle of the night. That’s really what I love the most piloting this room with the light shows, the production, the crowd, it’s a perfect combination of all the clubbing experience elements you can dream of. I sort of found home there. I’m grateful to Black Coffee for giving me my chance there back then. I can’t wait for summer 2019 to kick off so we can have this peak rendez-vous with all the island ravers.

You’re touring the US soon, are there some places you’re especially excited to visit?

I really love touring the US, I feel pretty much like Kevin McCallister in all the airports. I never spent more than 24 hours in NYC each time I played there so an extended stay at the big apple is on my checklist for sure. I also went to Los Angeles but it was way too short. I know Miami very well and I’m crazy about the Latin vibe there. I made some good friends over there too, and I was lucky enough to get introduced to the more alternative scene of Miami.

We know you’re also a photographer, how does that fit alongside your music, or is it something you try to keep separate?

To set the record straight: I don’t see myself as a photographer, I’m simply taking photos of ideas and furniture to archive it. It’s difficult to put it in a nutshell; I worked in a very creative environment for a while already. I just follow the way of life, to be honest. I didn’t really choose the place I’ve been, everything is a bit a happy accident, a meeting with someone, or a very intense and sudden passion for a particular thing. For me, the media is different but the method remains the same, I just have to be connected to it fully, then I don’t feel like working. When you are in love with someone you don’t feel the effort you are actually making to be the best boyfriend ever, it just flows, you know; that’s the goal. As an artist, you have to find love stories and find a way to express it. And sometimes love stories can end. So you have to embrace it now that is here.

Can you tell us a bit about your upcoming exhibition on mid-century Italian design? What drew you that specific subject?

I’m more in a curating and crafting process right now; I’m revisiting and reshaping some old piece of furniture that deserves a second life I would say. I like to restore chairs, coffee table and lamps. Changing the fabric when you have to but trying to respect the realism of this particular mid-century period. That’s what I like to achieve lately with furniture design, it’s “realism”. Italy is the most inspiring place when it comes to 60-70’s design for me. It’s modernist and a bit over the top at the same time.

Your next release, ‘Time Guard’ is a fully solo release, how come you’ve waited until now to focus on a solo project?

Because I simply love collabs and I had the chance to be very busy with collaborative projects. I always did music by myself but I kept most of the material unreleased, I wasn’t really in a rush. I wanted to make something advanced. But this record one for me. I started to write some of this music around 2015, like a long puzzle I took my time and my feelings with me, to complete it over the years. I’m very hard with myself, especially when it comes down to put out solo materials. So I wanted to do a record that was not only decent, I wanted to make something advanced, no matter how long would be the process. No matter where the trend will go over the years. This Time Guard is me, it’s totally me, and I made it for me first, to prove myself I was able to keep distance and a high level of exigency with a record over the years. Then, when I finally arrived to this day, this day when you say to yourself: “this is done”. My obsession became to find the best road to share it with the listeners. To wrap it up in a fine way, that makes total sense with the music. I contacted a British artist called Jake Farmer to execute the artwork, I was fixated on the vinyl artwork you know, I couldn’t just go for the simple 12” layout. With a strong fascination in graphic patterns lately, I established with Jack the artwork of the Time Guard record. This sort of moving patterns, almost hypnotic, was the way to go.

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