|
first
productions
…
Martin’s
first
production
efforts
were
persistent,
but
inconclusive.
Then,
with
the
backing
of
friend
and
mentor
Claude
Monnet,
he
set
up
his
own
label,
“Mixture”,
and
finally
made
his
name
with
“Heart
Of
Africa”.
This
piece
of
percussion
enlivened
by
raging
saxophone
riffs
won
acclaim
from
influential
electro
players,
such
as
Joe
Clausell,
Frankie
Knuckles
and
Bob
Sinclar.
Sinclar,
who
had
just
launched
his
“Africanism”
project
with
DJ
Gregory,
asked
Martin
to
join
the
team.
The
result
was
“Edony”,
Martin’s
first
hit,
which
sold
40,000
copies
in
vinyl.
A
surprising
track,
telling
the
story
of
an
Egyptian
princess
over
a
derbouka
backing,
it
reached
the
number-one
spot
in
the
French,
Italian
and
Greek
club
charts.
first
album:
“Sur
la
terre”
(On
Earth)
Now
it
was
time
to
take
the
plunge
and
put
together
an
album
combining
these
tracks
with
others,
providing
a
wider
vision
of
Martin’s
musical
world.
“Sur
la
terre”
(On
Earth)
was
released
in
2002.
It
included
“Edony”
and
“Heart
Of
Africa”,
as
well
as
“I'm
a
good
man”
(a
powerful,
old-school
soul
track),
the
slightly
melancholic
“Someday”,
and
“Linda”
(a
jokey
Afro
nod
to
his
masters,
Fela
and
Serge
Gainsbourg).
This
first
album
was
a
strong
critical
success,
drawing
unexpected
reactions
from
all
around
the
world.
It
enabled
Martin
to
work
with
international
producers
such
as
Kenny
Dope
(Masters
At
Work),
and
DJ
Spen
(Basement
Boys)
and
also
brought
him
offers
of
ambitious
remixes
for
Cunnie
Williams,
Soldiers
of
Twilight
and
especially
Salif
Keita,
for
whom
Martin
wrote
one
of
2003’s
great
club
anthems,
“Madan”.
a
remix
for
Salif
Keita:
“Madan”
The
story
of
this
remix
began
unremarkably,
with
exchanges
between
record
companies,
but
when
the
lively,
universal
song
was
heard,
things
started
to
move.
Martin
re-orchestrated
the
track,
turning
it
into
an
afro-disco
whirlwind.
Pleased
with
the
result,
he
decided
to
release
it
on
his
“Mixture”
label.
For
nearly
a
year,
Tony
Humphries,
Louie
Vega,
David
Morales
and
others
featured
the
remix
in
their
sets.
It
was
then
aired
by
numerous
radio
stations
in
France,
Italy,
Portugal,
Australia,
South
Africa,
etc.,
a
proud
achievement
for
its
creator.
While
sticking
to
Salif
Keita’s
traditional
message,
he
secured
the
backing
of
top
DJs
and
won
over
a
broad,
not
necessarily
specialist
audience.
“Madan”
has
now
been
compiled
more
than
150
times
in
21
different
countries.
It
is
included
on
the
remix
album
“Suite”
(Continued),
a
compilation
of
many
of
Martin’s
remixes
and
a
few
previously
unreleased
tracks,
including
“Rocking
music”.
“Rocking
music”
Martin
realised
that
he
had
reached
a
turning
point,
that
it
was
time
to
step
back
from
African
influences
if
he
was
to
avoid
getting
stuck
in
a
rut
or
acquiring
the
kind
of
label
that
always
sticks
a
little
too
firmly
to
an
artist
behind
their
back.
Another
meeting
with
Jay
Sebag
brought
the
possibility
of
a
rewarding
partnership
that
would
allow
Martin
to
express
his
sometimes
rather
controlled
(but
uplifting)
disco
streak.
“Rocking
Music”
was
released
in
October
2004,
greatly
widening
the
artist’s
audience
and
winning
over
the
UK
public
for
the
first
time.
Backed
by
Mousse
T,
Pete
Tong
and
Erick
Morillo,
“Rocking
Music”
impacted
on
the
2004
Winter
Music
Conference in
Miami,
then
swept
across
Europe
on
the
air
and
in
clubs
(BBC
Radio
1
playlisted
it
with
high
rotation).
decks
forever
Martin
never
lets
his
producer’s
cap
get
in
the
way
of
his
DJ
headgear.
An
artist
endlessly
roaming
from
venue
to
venue,
he
performs
his
music
on
the
decks,
touring
clubs
worldwide.
The
2004 Rocking
Music
Tour
took
him
to
more
than
20
countries.
In
Sydney,
New
York,
Ibiza,
Singapore,
Barcelona,
Zaghreb,
London,
Lisbon,
Dubai
and
Paris,
at
events
ranging
from
a
private
party
for
Karl
Lagerfeld
to
the
open-air
festival
of
Carthage,
Martin
found
unswervingly
enthusiastic
audiences,
often
displaying
different
sensibilities.
second
album:
“Hedonist”
…
This
diversity
of
cultures
and
encounters
along
his
musical
path
simply
sharpened
his
desire
to
carry
on
the
experience,
especially
in
terms
of
writing
and
production.
Without
any
real
break,
he
embarked
on
a
new
album,
“Hedonist”.
Over
a
few
months,
its
dozen
tracks
of
varying
inspiration
took
shape,
united
by
the
increasingly
distinctive
“Solveig”
production.
Martin’s
aim
on
“Hedonist”
was
to
explore
the
art
of
writing
further
(he
penned
90%
of
the
lyrics
and
music),
try
out
new
fusions
(combining
the
energy
of
programmed
loops
with
the
vitality
of
live
music,
or
electronic
textures
with
classical
instruments)
and,
above
all,
have
a
great
time
mixing
the
cocktail.
“Hedonist”
is
to
be
released
in
France
on
ULM
(Universal)
in
June,
then
internationally
(UK,
Italy,
Germany,
Benelux,
Australia,
Spain)
in
September.
In
brief
Producer
profile
-
2001:
Worked
on
the
“Africanism”
project
with
Bob
Sinclar
and
DJ
Gregory.
Martin’s
track
“Edony”
was
chosen
as
the
first
single
(club
no.
1
in
France,
Italy,
Greece).
-
2002
and
2003:
First
Album
“Sur
la
Terre”
(On
Earth)
+
remix
album
“Suite”
(Continued)
(70,000
copies
sold
worldwide)
-
2000:
Work
with
Salif
Keita
and
release
of
“Madan”
(100,000
copies
worldwide
+
over
150
compilations)
-
2004:
“Rocking
Music”,
which
conquered
UK
audiences
and
was
playlisted
by
Britain’s
prestige
BBC
Radio
One
(100,000
copies
worldwide,
club
no.
1
in
the
UK,
Australia,
Italy).
-
2004:
5
nominations
at
the
UK
House
Music
Awards,
including
“Artist
of
the
year”
and
“Single
of
the
year”
for
“Rocking
Music”
-
2005:
Release
of
the
album,
“Hedonist”,
and
the
first
single,
“Everybody”
DJ
Profile
-
1997
to
2002:
Resident
DJ
at
top
Paris
clubs
(successively
Le
Palace,
Les
Bains
Douches,
L’Enfer
and
Le
Queen.
-
2001
until
today:
Martin
still
loves
to
perform
on
the
decks,
performing
his
productions
live.
He
appears
internationally,
regularly
playing
in
London
(Ministry
Of
Sound),
Rome
(Spaoneiria),
New
York
(Cielo),
Ibiza
(Pacha),
Sydney
(Tank),
Barcelona
(Discoteca),
Singapore
(Zouk),
Anvers
(La
Rocca),
Dubai
(Trilogy),
Copenhagen
(Luxx),
Paris
(Queen),
etc.
-
2004
Award
winner
for
the
best
set
of
the
season
at
the
Ibiza
DJ
Awards.
The
“Hedonist”
album
The
project
was
completed
over
a
relatively
short
period,
since
the
first
“Hedonist”
sequences
were
loaded
into
the
sequencer
in
September
2004.
In
a
few
months,
the
eleven
tracks
took
shape.
Diversely
inspired,
their
common
denominator
was
an
increasingly
distinctive
“Solveig”
production.
Martin’s
aim
on
the
record
was
to
explore
the
art
of
writing
further
(he
penned
90%
of
the
lyrics
and
music),
try
out
new
fusions
(combining
the
energy
of
programmed
loops
with
the
vitality
of
live
music,
or
electronic
textures
with
classical
instruments)
and,
above
all,
have
a
great
time
mixing
the
cocktail.
The
result
is
not
a
house
music
album,
rather
a
contemporary,
electronic
view
of
disco,
rock
and
R&B,
all
led
by
2
singers
with
strong
identities:
Jay
Sebag and Lee
Fields.
Already
featured
on
“Rocking
Music”,
Jay
has
an
astonishing
range
of
vocal
possibilities
in
terms
of
technique
and
sensibility.
On
“Hedonist”,
he
sings
on
4
tracks,
ranging
from
electronic
funk
to
ballad.
He
is
Martin’s
number-one
musician
partner,
so
obviously
plays
an
important
role
on
the
album.
Lee
Fields,
a
fifty-year-old
bluesman,
brings
his
special
madness
and
a
soul
sweat
that
turns
verses
into
a
melodic
lament.
His
take
on
“Everybody”,
a
powerful
cocktail
of
house,
blues
and
rock,
totally
changed
its
character.
As
the
first
single
taken
from
“Hedonist’,
the
track
caused
a
stir
at
the
2005
WMC
in
Miami
this
year,
with
backing
from
Pete
Tong,
David
Guetta,
Roger
Sanchez
and
Mousse
T.
The
rest
of
the
album
is
performed
by
Stephy
Haïk,
Michael
Robinson
and
Martin
Solveig
himself
(with
tongue
slightly
in
cheek,
but
a
certain
sincerity
too).
“Hedonist”
will
be
released
in
France
on
ULM
(Universal)
on
the
5th
June,
then
internationally
(UK,
Italy,
Germany,
Benelux,
Australia,
Spain)
in
September.
Interview
Questions
put
to
Martin
Solveig
Why
the
title
“Hedonist”?
It’s
mainly
to
do
with
my
state
of
mind
while
I
was
working
on
the
project.
I
had
a
lot
of
fun
and
didn’t
think
about
things
too
much.
I’d
always
wanted
to
be
eclectic,
to
condense
all
the
pleasure
that
music
brings
me
and
share
it.
Then
the
album
probably
has
a
slight
flavour
of
the
60s
and
70s,
which
have
always
embodied
a
certain
freedom
for
me,
a
child
of
the
80s,
the
economic
crisis,
the
condom
generation…
Then
I’m
into
wine,
parties
and
low
necklines,
so
I
feel
quite
in
tune
with
the
title.
Doesn’t
the
eclecticism
you
mention,
which
characterises
the
album,
run
the
risk
of
destabilising
it?
Yes,
“Hedonist”
is
definitely
an
atypical
album,
in
that
it
explores
different
singers
and
different
worlds
too.
Most
of
the
time,
it’s
a
singer
exploring
styles
or
a
style
explored
by
different
singers.
Having
said
that,
I
think
that
my
way
of
producing
and
writing
is
becoming
distinctive.
I’m
still
young
and
I
hope
my
personality
will
assert
itself,
but
on
first
listening
to
the
album,
I’ve
often
heard
“that’s
Solveig”,
which
gives
me
a
lot
of
satisfaction.
What
will
your
first
fans
think,
the
clubbers
and
house
music
lovers?
I
think
–
I
hope
–
that
they’re
a
little
like
me,
getting
older
and
their
tastes
changing.
Most
of
them
will
probably
focus
on
the
singles
–
the
most
“club”
tracks,
the
easiest
to
grasp
–
but
for
those
who
want
to
go
a
bit
further
and
find
out
what’s
behind
it
all,
I
wanted
to
come
up
with
something
personal.
An
album
is
inevitably
personal
and
that’s
why
I’m
so
fond
of
the
Long-Playing
format.
You
can
say
more
and
–
even
if
the
public
knows
me
from
a
DJ/club
angle
–
I
wanted
to
say
those
things.
Working
on
a
true
ballad,
for
instance,
not
basing
everything
on
energy.
DJs
have
a
beat,
but
they
can
also
have
a
heart…
What’s
more,
my
DJ
sets
today
are
a
little
less
focused
on
repetitive
music.
I
realised
that
clubbers
knew
the
structures
of
100%
sequenced
numbers
by
heart.
Adding
a
live
touch,
slipping
in
a
disco,
rock
or
soul
standard…
that
surprises
them
and
produces
a
reaction.
When
you
manage
to
time
it
well,
the
kids
react
twice
as
much
to
a
Clash
or
Supremes
track
than
the
club
smash
of
the
moment.
Who
is
“Hedonist” aimed
at?
I
don’t
like
things
to
be
too
compartmentalised.
It’s
paradoxical
and
difficult
to
defend
in
these
days
of
ultra-formatted
music,
but
I
want
to
believe
there
are
still
certain
openings.
I’ve
already
had
some
great
surprises
meeting
fifty-year-olds
who
are
into
“Sur
la
Terre”
(On
Earth).
I
certainly
didn’t
work
on
”Hedonist”
in
an
elitist
frame
of
mind.
I
have
a
fondness
for
simple
things
and
I
try
to
follow
the
shortest
paths
to
put
across
an
idea,
a
musical
theme.
I’m
aware
that
this
album
will
be
a
bit
harder
for
the
youngest
to
take
on
board,
since
they
expect
more
energy
from
a
DJ
album.
Having
said
that,
there
are
enough
artists
who
do
that
better
than
me.
Overall,
I
think
that
everyone
can
find
something
in
there.
After
the
success
of
“Madan”
and
“Rocking
Music”,
is
it
valid
to
start
off
with
a
single
like
“Everybody”?
Doing
tracks
that
are
like
your
previous
successes
makes
things
simpler
and
can
bring
faster
results.
The
risk
for
the
artist
is
that
they’ll
lock
themselves
into
a
microstyle
and
won’t
be
able
to
get
out
of
it
again.
The
best
thing
is
to
have
an
identifiable
style
that
suggests
your
old
and
new
numbers
are
from
the
same
mould,
although
they’re
not
really
comparable.
I
think
that
“Everybody”
is
a
reflection
of
me
and
I
take
full
responsibility
for
it,
as
much
as
for
my
previous
singles.
I
felt
like
doing
something
a
little
radical
and
tougher
than
usual,
while
still
remaining
myself.
The
song
points
to
a
change
without
breaking
with
the
past,
so
I
think
it’s
a
good
ambassador
for
the
album.
Why
a
Serge
Gainsbourg cover?
Firstly,
because
“Requiem
pour
un
con”
(Requiem
for
a
Jerk)
means
something
special
to
me.
The
man
who
wrote
it
is
a
master
and
I
wanted
to
pay
humble
tribute.
The
song
provides
a
little
break
in
the
album’s
progress,
as
well
as
a
French
touch
that
I’m
attached
to.
I
think
the
best
songs
are
made
to
last
and
be
covered.
New
versions
always
have
something
new
to
add,
even
if
they
never
achieve
the
magic
of
the
original.
What’s
going
to
happen
next?
I’m
going
to
free
up
a
bit
of
time
for
my
friends
and
family,
since
I’ve
only
seen
them
on
and
off
for
the
last
year.
Otherwise,
I’m
going
to
spend
some
of
my
summer
in
the
clubs
and
on
the
beaches.
In
other
words,
I’m
going
to
travel
and
party.
Even
if
I
sometimes
grumble
a
bit
from
tiredness,
I’m
a
child
blessed
by
fortune
and
very
happy
in
his
everyday
life.
I
should
quote
Karl
Lagerfeld: “Holidays
are
for
people
who
work”. |
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