Interview by Shannon Lawlor
Theo Le Vigoureux, better known as Fakear is a French electronic producer and rising beam in a faded cosmos. At the ripe age of just 24, Fakear had already toured extensively, showcasing his mesmerising brand of glow-electro from London to Tokyo to New Zealand, supporting influential giants such as Bonobo, additionally selling out Paris’ prestigious Olympia in 2015 where he soon after signed with the independent French music label Nowadays Records, and released the EP Sauvage in June 2014.
After numerous remixes, singles, EPs and an entrancing debut LP Animal, under his belt, Fakear gained the interest of M.I.A., AlunaGeorge, The FADER and ODESZA, among many others. Ninja Tune sister label Counter Records soon signed Fakear, proceeding to release the highly magnetic, hypnotic and dream-fuelled sophomore LP, All Glows on April 13th, featuring an eclectic cast of artists from Australian indie-songstress Eves Karydas to trumpet player Ibrahim Maalouf.
We caught up with Fakear on setting boundaries and his latest album, All Glows:
For anyone unfamiliar to Fakear’s glistening decadence, how would you personally describe the music you produce?
I make a kind of electronic-world music, kind of kitsch, with high-pitched voice samples. It’s a difficult question, it’s like asking “describe your haircut”, haha!
You recently released your new album, ‘All Glows’. Could you detail this recording process, and how it may have differed to recording 2016’s Animal?
I changed my way of doing music. I started each song by the chorus, the maximum of energy, and I worked on them a year long. I constantly added details and sample, until the deadline.
Could you detail the inspiration behind writing your new single ’Something Wonderful’? Where do you usually like to seek inspiration from when composing?
Most of the album was written in my bedroom, but this song was made in Paris, in around 2 hours, with Ana Zimmer and two talented producers. The inspiration comes from my everyday life emotions, melted with my imagination.
You grew up in a musical household – how do you think this has shaped your current musical ethos, or production values when it comes to producing music?
For a long time, I didn’t allow myself certain things, by fear they could be “too mainstream”, but last year I understood that you have to assume your own identity to make real honest music.
How would you compare performing in France, to performing in North America or the UK?
France is the country where I started, so we play in 1000/1500 capacity venues, with a full live band and a lightshow. I hope I could bring all this soon in the UK, but for now I’m on my own when touring North America or UK.
What are your thoughts on electronic music’s enigmatic, yet thriving culture? Are there any ways in which you would like to see it change or improve?
Electronic music history is fascinating. I can’t see the future, but I go with my ideas of a positive electronic music which encourages people to dig in themselves, and we’re a few producers going this way. We’ll see if that changes anything!
Collaborating seems to be an important part of what Fakear does best. But if you could collaborate with anyone on the planet – who would it be, and why?
It would be Ravi Shankar. He’s an Indian sitar player who worked with the Beatles. Ultimate sample!
Are there any pieces of equipment, hardware or software which you feel is absolutely essential in creating Fakear’s original tone?
I think a shitty keyboard and a little bit of laziness. I don’t spend hours on a track, and often I put myself some huge boundaries (like composing in a plane, or with just my little headphones) to get the sound I want. It’s very instinctive.
Care to name some of your personal favourite releases of the year so far?
ODESZA – A Moment Apart
Jon Hopkins – Emerald Rush
Besides the release of your highly anticipated album, what does the future hold for Fakear?
I don’t know really, for now it’s tour life until next winter! I keep making music, so there will be new material soon.
Order All Glows by Fakear
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[Image credit: Fraser Taylor]
