Sebastien Schuller Interview: SXSW 2010

A classically trained percussionist and composer, Parisian artist Sebastien Schuller's music evokes melancholic beauty with classical touches, rounded out by the influence of New Wave pioneers. Bursting onto the indie scene with the 2002 EP, 'Weeping Willow,' Schuller began to carve a new arena for himself in electronic and ambient music that was dark yet hopeful. As a SXSW newbie, he's now finding his way through the US, his adopted country. While he sometimes gets homesick, he is excited at the new turn of events. Spinner spoke with Schuller before the festival to discuss his American and French audiences and why he isn't a DJ.

Describe your sound in your own words.

I would say, for today, it's a new creation right now. It's hard to describe -- I'm trying to work on some songs and because I'm trying to, beaten by the test. I'm inspired by New Wave/electronica, but at the same time, I'm trying to cross that with my own work that I have. I don't think of that once I do the rhythms. I think of my own compositions ... and spend a lot of time building the melody and do it around the melody.

How did your band form?

I wanted to do that when I was 18 years old, so a long time ago. It took me some time because I had to finish some songs. When I was able to finish some songs, I was able to show my music to others. I think as soon as I started the composition of songs when I was 18, I don't know ... I felt [intimidated]. I was just surprised [that it was easy]. Originally, I was a percussionist working with an orchestra [and] into classical music. So when I got my first keyboard, I was surprised to see how easy it was to make some arrangements and I felt that, "Oh, well maybe it's not too hard to create a song." So, well after, I was pushing more and more and tried new instruments to make arrangements for a new song, and that became my goal. After that, I think I wanted to make my own original music.

What are your musical influences?

I would say that a lot of different bands [and] a lot of different songs [are influences]. I was a fan of Depeche Mode [and] Orchestral Manoeuvres in the Dark [OMD], a New Wave band that I always loved and I really enjoyed their songs. They were able to make some deep, catchy songs. Later, I fell in love with Talk Talk and the evolution of Talk Talk. I really like the compositions of contemporary music and classical instruments into a new composition. I also like Boards of Canada for electronic [music]. More recently, I've loved Animal Collective and the new work of the Knife's Karin Dreijer's side project, Fever Ray.

How did you come up with your band name?

It is my real name, and I've been signed before to a record label and he [the owner of the record label] saw me as a compositor, and he was telling me to keep my name. I started to call myself by my own name, but sometimes I'm tempted to follow a new project and use a different name. I didn't really pursue that and if I was in a solo project, it was a called being a DJ and I didn't want to [have] a DJ name.

Do you miss anything about France since you now live in Philadelphia?

I miss Brittany, an area of France. There are a lot of cliffs and rocks and it's unique. Sometimes I miss that.

What is your musical guilty pleasure?

There are a lot of them. I could say Justin Timberlake because he doesn't sound like any of my music, but it's so well done. It's something that will be played in the radio. I think it's very well composed.

Which album of Justin's did you like, the first one or the second one?

I don't have any of them [laughs].

What is the craziest thing you've experienced while on tour?

Again, in Brittany, when we were touring in Europe we went to the venue in a tiny little car to outside of [the town of] Morlaix. We played there and I remember -- after playing and we'd been deejaying after the show -- there were a lot of fans out in the streets and they didn't want us to leave. They stood in front of the car, they surrounded the car and we were checking out to see if everyone was in the truck so we could leave. And then we had a "guest" in the car that didn't want to leave. He just came inside and didn't say a word. He was drunk, and he just sat in the car. We were five miles out of the town, and he just wanted to go to the town with us. He didn't ask anyone [for permission], so it was kind of scary and funny at the same time.

How are American and European audiences different?

[In] my own experience, it's hard to say because until now I've played small venues in the US and there weren't too many fans. In France, there are more people and they are bigger venues, and you can look at the audience's reactions. I guess it's different in New York City and Philadelphia. At an indie concert, it's something really different and it can be really crazy, and it can be a bit scary at the same time with a lot of bands. The French audience is different, and bands come to play Paris because it's Paris. Sometimes the bands are more successful in France than they are in their own country. But sometimes the French audience can be really critical, especially in Paris.

Describe, in three words, your shows to someone who has never seen you.

Some good vibes.


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