Few artists have a creative output as consistent and free-flowing as Pablo Nouvelle, and today’s release spotlights that gift of his. Even though the Swiss musician released a seven-piece album called ‘Atlas Internet Café’ in December 2019, that didn’t stop him bringing another collection of magical tracks into existence four months later: ‘Obsolete’.
Building on its predecessor by employing more club-focused instrumental tactics, ‘Obsolete’ touches firmly on the theme of mankind’s non-sustainable way of living. Classified by its creator as music to dance and dream to, the album brings together the colorful and warm as well as the dirty and playful, from known tracks such as ‘The Kármán Line’ and ‘Oh Would You Be There’ to fresh conjurations such as ‘Saltburn’ and ‘Irritation’. Suitable for all kinds of listening sessions, ‘Obsolete’ consistently flirts with the idea of escaping to outer space, and that’s exactly what draws listeners in.
Talking about the link between ‘Atlas Internet Café’ and ‘Obsolete’, Pablo Nouvelle said: “I originally wanted to do a two-sided album and thought for a long time that it would turn into a day-and-night kind of thing. In the end, the concepts turned out very different from each other, but the idea of having a downtempo chill-out album and an up-tempo dance record remained. I’m glad to have gotten them into this world, and I hope they touch as many people as possible.”
Since bursting into the scene, Pablo Nouvelle has more than earned his stripes. Having mastered a range of different styles and influences that thrive in the gentle, soulful mixture of sound he calls his own, he is an in-demand remixer and producer who has worked with the likes of Jessie Reyez, Anne-Marie, Bruno Major and Josef Salvat, all the while stepping up on remix duty for Aurora, Gorgon City and Marina & the Diamonds. When Pablo Nouvelle isn’t pursuing music, he is an acclaimed animation filmmaker with three award-winning short films to his name. ‘In A Nutshell’, his latest, was longlisted for an Oscar.
WWD: Pablo, firstly we want to congratulate you on the new Obsolete album! Great work! How do you think this album has allowed you to take unique creative freedom with your music opposed to past projects?
In late 2018 I moved to London to focus on writing music. I did several writing sessions a week but also enjoyed making music alone. Trying to create sonic textures that are interesting enough on its own. After a while I started to work with other producers, like Bondax who are featured on three songs on Obsolete. I really enjoyed that process. Whilst working with a singer, the roles are clearly separated, working with other producers can become a very dynamic and fruitful ping pong.
WWD: Can you share some background on how your producing career came to fruition? Was this always a goal of yours?
I always dreamed of being a musician. I didn’t expect it to become my profession though. That’s why I tried to study architecture first and ended up in animation film later. I always played a lot of piano, mostly Jazz. Then got into Hip-Hop, producing beats on an MPC 2000xl. My music taste was always very eclectic. For a few years I was part of an R’n’B / Pop duo, then I got into Soul, did a lot of sample based tunes. That I’m now doing something you might call electronic music, comes as a surprise to me too.
WWD: End of last year you released your Atlas Internet Café mini album which seems to be very different from the new Obsolete album. What was your inspiration/concept behind this and how did the Obsolete album come about?
Obsolete & Atlas Internet Cafe was originally meant to be one album with an A and B side. A day and night kind of thing. Which it still is in a way, as Atlas Internet Cafe is the Lo-fi Chill-out brother of its bigger sister Obsolete, which is going out to a decent rave in the woods at night. A friend of mine and I travelled through the UK to capture the visual story to wrap around those two releases. I knew I wanted the first release to be an homage to Seven Sisters where I lived at the time, so we portrayed the Atlas Internet Cafe, which seemed to have fallen out of time. Driving up to Scotland we came across those visually stunning oil platforms. What an accurate symbol of our throw-away mentality: We build those fossil fuel sucking beasts and when they are not profitable anymore they get dumbed in a random natural harbour. That’s also where I came up with the name Obsolete.
WWD: Does your studio process differ when producing an album, as opposed to producing single tracks?
I think in the first place it makes sense to listen inside and see what comes out. It’s about the songs after all. But when I got some tracks together that I really like, I start to develop a vision and work in a certain direction. But this vision can also vary strongly over the whole process, as seen with those two releases.
WWD: What would you say are a couple of tracks that you want to pick out and share a few words about?
‘The Atmospheric Halo Fades Into The Blackness Of Space‘ – Usually if I pass V7 of a Song, I’ll end up never releasing it. Now this is probably Version 27. Changed key, varied the structure, added this crazy retro-space intro, asked my guitarist to contribute weird sounds. The only thing that stayed the same throughout all those different versions is the main Synthesizer pattern that keeps on wobbling detuned throughout the song. This song really set the thematic scenery of where the whole album takes place. An auricular Stanley Kubrick, out of Space Odyssey Vibe.
‘The Karman Line‘ – A classic home office studio day. My session got cancelled and I spent the whole day in my windowless warehouse bedroom in London, dreaming about space (and sunlight). Didn’t like the tune at all at first and was in a bad mood. I can get pretty frustrated when I spend hours on a song and I feel like it leads nowhere. It was my girlfriend who convinced me to keep on working on that track, and now it’s one of my favorites.
‘Saltburn‘ – Whenever possible I try to take the train instead of a plane to travel between London & Zürich. A window seat, my laptop and a pair of headphones equals a lovely studio day. Prepared all the drums for Saltburn on a journey like this. Threw them direction Bondax, spent one day with Adam & George in a studio in Seven Sisters and came out with that banger. It’s so much fun to work with those two guys!
WWD: A lot of artists go through changes with their sound over time.. Has working on this album changed you and opened new doors for you? And if yes; how?
Whilst All I Need & Wired were very eclectic, jumping from one genre to the next I tried to be more distinctive with Obsolete & Atlas Internet Cafe (as well as Piano Pieces, its predecessor) It helps with sharpen my profile as a producer and DJ, as all of those releases work with almost no vocals and put the instrumental parts in the foreground.
WWD: Have you received feedback from other artists on this new album and do you often find it helpful to test your music with other artists before it gets released?
Yeah, I’m in a constant exchange with friends and other artists. Most of them are not coming part of the electronic music scene. But who cares about those genre labels anyway. A good tune is a good tune. I can get excited about a trap tune as much as I can fall in love with a folk song.
WWD: Any artists you have your sights on for future collaborations? Give us the low-down on some of your favorite up and coming producers as well.
One to watch is Cella, from Switzerland. His track Imperfection is a massive tune. I’m also looking forward to the upcoming release of Audiodope. His eponymous album in 2018 is already a timeless classic. Then there is Melodiesinfonie. Having a massive output of great music from Jazz to Lo-fi.
WWD: What attached you to Armada Music as a label partner for the ‘Obsolete’ album release?
Armada showed interest in releasing my music in a very early stage. We teamed up for the release of my first official album All I Need in 2016, which was an amazing kick off. The combination of having such a personal relationship with the label but also getting leverage like being with a major is unique.
WWD: How have you passed the time, both musically and otherwise, during the past few weeks?
The first two weeks I did several streaming gigs and online DJ sets. It came in handy, as it was lovely to showcase the new album. Besides that, I am just about to finish a collaboration album with the English artist Favela which I am very excited about as well a 4 song Ep with the incredible singer and writer Emy Perez.
WWD: After this lockdown situation, any specific things you would like to do? Are you planning to go on an album tour?
Yes, I was supposed to play an album tour in April & May, which got postponed to October. I’m actually not mad at the idea that people can live with music throughout the summer and then come to the gigs in autumn. On our trip through Scotland we recorded hours of footage, which will become the live visuals at the shows. Very much looking forward to those gigs!