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SOPHIE emailed me and the LuckyMe team a remix to the song “Drop Down” before it was released because he heard about it and liked it. Can you tell me a little bit about the process behind “Drop Down” with SOPHIE and Le1f? How did that track come together? You’ve been open about your love for collaboration and how important it is to you.
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I’ve approached it more from a “coming full circle” point of view in which we have a new generation of young artists expressing themselves from a whole new platform and environment, which inspires me to look deeper into the new local acts circulating in Montreal and see what we all can create together. Not exactly, but I guess you can see it like that. Do you feel a responsibility to nurture and put into your local music scene? You recruited some local emerging artists – like CJ Flemings – out of Montreal for this record. But in general, the best ideas can come to you at any point in time, whether I’m at home or overseas. That’s why I mention a lot about making sure I come back home for a good two weeks before heading back out. Home, for me, is the best way to anchor down all the spontaneous and dynamic ideas and inspiration I gather over time from my tours and studio sessions.
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How does working out of home affect your creative process? Do you feel you need to come home to produce your best work? You pieced together parts of the album in hotels and on the road, but the majority of the record was fleshed out in Montreal. It’s something I feel I can explore and develop into many different ideas beyond ‘CCCLX’. I got that idea from the way I perform on stage and how much of a presence it gives off every time. That saying of “not wanting to make an album” is a way for me to conceptualise the idea of putting together a project that wouldn’t be pieced together like a traditional album would. When and how did that change with ‘CCCLX’? You’ve said that the first thing you told yourself after TNGHT went on hiatus is that you’d never make an album. Only when I started breakdancing in high school is when I fully got into rap, funk, jazz and other genres. I fell more into gaming soundtracks (like Chrono Trigger) because it’s pretty much all I loved to do as a kid at the time. There was my mom listening to disco, Grand Father listening to old Filipino tribalistic chanting music, and my older sister listening to the Wu-Tang Clan. Musically, it’s been pretty diverse for me. I think the winter season is a huge factor in this because we all find ourselves stuck inside our homes or studios working on new ideas and concepts to have ready the moment spring arrives. Lunice: I grew up in a pretty collaborative environment. Montreal culture in general is super easy going there’s no real pressure to compete, so you have more time to think for yourself and plan your artistic direction more carefully. We took some time out to dig into the process and ideas behind ‘CCCLX’, making music in Montreal, touring with Madonna, breaking away from TNGHT and life-changing lessons from Kanye.īest Before: How did growing up in Montreal influence and inform your artistry? Conceptualised as the soundtrack to a speculative theatre piece and packed with features from emerging scene-shakers like SOPHIE, Le1f, Denzel Curry and CJ Flemings, the album is purposefully structured as an experience with distinct acts, indicated by Roman numeral titles inspired by classical playlists on iTunes.Īt the end of November, Lunice will bring all that dynamic new material down under to join Alison Wonderland‘s monstrous Warehouse and Scarehouse projects. Stepping out of the shadow cast by his rich history with TNGHT, Lunice unleashed his debut solo record ‘CCCLX’ last month. Before long, Lunice was booking shows and playing with the Turbo Crunk crew, signing to LuckyMe and brushing shoulders on global tours with Kanye West and Hudson Mohawke (the later being a fated connection that eventually gave birth to a little project by the name of TNGHT). As for his talent in the studio and behind the decks, that all came about after hearing what god-level hip hop producer 9th Wonder could pull off in Fruity Loops back in the early 2000s. The multi-talented maestro throws himself around on stage with stupidly infectious vigour each and every time, firing off string of flawlessly curated hip hop cuts, rolling trap drops and club-crushing crunk beats with an energy that his fans can often barely keep up with.īorn Lunice Fermin Pierre II in Montreal back in 1998, the trap trailblazer tells us that he owes his onstage elasticity to formative years spent as a b-boy dancing competitively for the 701 Squad. A Lunice set is something you just have to experience with your own eyes and ears at least once in your life.