We speak to Plastic Bamboo, real name Camile Bertin, about his stunning new EP ‘Cinerama’ on one of Chicago’s most productive imprints – Star Creature. Silky synths, Balearic vibrations, and Cosmic goodness are in abundance on this must have EP. Here we sit down with the main man for a little talk ahead of the release.
WWD: Where are you today and how will you be spending it once you’ve written this interview?
I’d love to say I’m on a beach in the Balearic Islands, sipping a cocktail while admiring the sunset and listening to relaxing music, but alas, I’m just in my flat, which is far less picturesque. After this interview, I’ll probably have tomato soup and watch a movie.
WWD: Where are you from and where are you based now?
I was born in Paris, but my parents moved around a lot, which allowed me to experience life in many French cities. After graduating from film school, I moved to Manchester, UK, to play drums in pop bands. This city holds a special place in my heart; it’s where my musical journey truly began and where I met some of the most inspiring people. I then returned to Paris and settled in Saint-Ouen, where I’ve lived for the past ten years.
WWD: What do you love the most about where you live?
I like that Saint-Ouen is close enough to Paris to enjoy the cultural offerings of the capital, while being more affordable and quieter. What I enjoy most is going to the flea market on weekends, looking for cheap records that no one else is interested in.
WWD: How is the music scene where you are?
It’s constantly evolving and getting younger, while I’m constantly getting older, which makes it hard to keep up. That said, I feel like I’m part of a small community of producers, diggers and DJs that has been around for about ten years and continues to grow, much like a good wine that improves with age. Some have become close friends along the way. Of course, there are a lot of great clubs in Paris, but as a lover of good old vinyl, I mostly go out to see my peers DJ at intimate listening bars. Montezuma Café and Le Discobar are two of my favorite spots at the moment, but there are so many others.
WWD: We’d love to hear about the initial idea for your new release. When did you first approach this concept and what was your original intention with this release?
I’ve always been a film buff, and cinema is a big part of my life because I work in the industry. I’d been working on some tracks for a while when Covid-19 hit, and during the first lockdown, I watched a lot of movies at home. That’s when the idea came to me to make a concept EP and name the tracks after some of my favorite films as a tribute. They became an inspiration to finish the tracks and start new ones. The name Cinerama felt like the obvious choice, being a contraction of cinema and panorama.
WWD: Do you feel that you were able to accomplish all of your intentions?
Absolutely. My main goal was to make the best EP I possibly could, and I put my heart and soul into it. I feel like it reflects many of my influences while still having a sound of its own, so yes, I’m pretty happy with the result.
WWD: What are you most proud of with Cinerama?
What struck me the most when I received the first feedback was that there wasn’t a single track that stood out as everyone’s favorite – each of the six tracks was mentioned at least once. The fact that ‘Cinerama’ resonates with people in different ways and that it has something for everyone is what I’m most proud of.
WWD: What was the most challenging part of bringing this release
together?
The wait once the EP was finished. Almost three years ago, I sent the demo to a few labels, including Star Creature. Tim Zawada replied almost instantly, but I had already been contacted by another label that wanted to release the EP. As time passed, things were moving really slowly, and Tim kept nudging me every few months, asking when it would come out so he could buy and play it. Two years later, I decided I’d waited long enough and asked Tim if he was still interested. By then, I had two more tracks ready, and Tim was up for adding them to the release. Staying patient during this long wait was probably the most challenging part. Today, I’m really glad it’s found its home.
WWD: What can you tell us about Star Creature and its mission? Why did you feel this was the right place for your music?
I’ve always been a fan of Star Creature. I bought the first Tugboat Edits back in 2013 and have been following the label’s output ever since. Tim has been doing his own thing for years without following trends, slowly building a real fanbase and becoming a trademark in boogie, disco, and house. When I sent out the demo, Star Creature was one of my top picks, mainly because of its strong identity and the high quality of its output over the years. It seemed like a perfect fit for a release like Cinerama. Now that it’s out, I can say that getting back in touch with Tim was the best move.
WWD: What drives you to create music?
It’s a difficult question to answer. As a kid, I learned to play the piano, and I remember writing little pieces that I would play for my teacher and my parents. They were very encouraging, so I kept at it and gradually improved. Over time, once a creative activity becomes a habit, you don’t even have to think about it, it becomes part of you. My production skills are somewhat limited, so even though I like dance music, what brings me the most pleasure is composing, shaping rhythms, melodies and arrangements.
WWD: Who are the artists and icons that inspire the music you make?
If I had to pick one icon, it would be Prince. His incomparable talent as a songwriter, his incredible charisma, and his versatility have always been a source of inspiration for me. Another major influence of mine, as my name suggests, is Ryūichi Sakamoto. On the dance music side, discovering Metro Area was a turning point in my journey as a producer. The simplicity of their tracks, the space they leave in the mix, and the blend of groove and melody still influence me enormously today.
WWD: What is the perfect setting for you to create some new music?
I haven’t found the ideal environment yet since my studio is also my bedroom – it’s a bit cramped, but I make it work. Ideally, I’d love to have a dedicated music space, filled with records, analog gear, laser beams and a smoke machine, but right now, that’s not an option. Time is also a crucial factor – composing music requires hours of isolation and focus. To minimize distractions, I turn off my phone and stay off the internet.
WWD: Where do you find the most inspiration when it comes to discovering new sounds?
It’s hard to pinpoint exactly where inspiration comes from; it’s quite unpredictable. David Lynch once said that finding ideas is like catching fish: it takes time, dedication, and patience. Inspiration can also come from any event in life. As for purely musical inspiration, I discover a lot of old disco music while digging. In general, I’m more inspired by music from the ’70s, ’80s, and early ’90s than by new releases.
WWD: Who do you think is making great music right now?
One of my favorite releases in recent years is Détends-toi by Stella. Ed Longo’s slick production sounds just like an ‘80s French record. After releasing the EP, they formed a full live band called Stella and the Longos. I saw them live in Paris a couple of years ago and it was freaking good. Also, the Neapolitan scene led by Nu Genea and Periodica Records continues to produce gems like they’re the goose that lays the golden eggs.
WWD: What has been one of your favourite moments from the past year?
Without a doubt, the moment I signed the deal with Star Creature for the release of ‘Cinerama.’
WWD: What is next for Plastic Bamboo?
I’m preparing a mix for Yuksek’s show on Apple Music. I’ve also started working on new tracks, but I’m not sure when or how they’ll be released yet.
WWD: We can’t wait to hear it! Thanks for the chat 🙂
The ‘Cinerama’ EP is available here