KOCHI: From humble beginnings working as a party DJ, Lecomte de Bregeot has become a name to reckon with in electronic music, especially after his performance at Paris Techno Parade in 2015. The past few years have seen the artist collaborate with several fashion brands and icons.
He has also produced music for the French series Mytho and Emily in Paris (Netflix). Now, ahead of the release of his new EP, Brégeot is touring India. He was recently in Kochi for a performance. TNIE caught up with the artist for a freewheeling chat about his life before the musical journey, his biggest wins, landing a contract with a music giant, and future projects.
How was your life before starting a music career?
It was a simple life. I wouldn’t say poor, but our family was working class. At the time, I was not good at school. But life was good. I found happiness in being close with friends and family. For a young man, there was room to experiment, to try everything. My mom was like a free soul. She always encouraged me to pursue what I liked. My granddad was also very supportive. And so were my friends.
How have Indian audiences reacted to your music?
I didn’t have much idea about the people’s musical tastes here prior to my arrival. But it has been good. The show in Bengaluru was huge. Indian people, I’ve noticed, are friendly and open-minded.
Do you listen to the works of Indian musicians?
Of course! I know the works of Indian composer Ravi Shankar and Panjabi MC. There’s also M.I.A, who made songs for Slumdog Millionaire. In addition, I have some ideas about Bollywood and the musical tastes that dominate it.
What has been your biggest win and loss so far?
My biggest win is getting my music to people and finding my peace with it. Earlier, I was plagued by a lack of trust in my abilities and my music. It was holding me back. Now, I’m glad that I have this career and my work to show. I worked hard to be successful. I have made peace with myself. My biggest loss is that during the ten years it took for me to reach where I am now, I was constantly nagging myself about making it big. I was anxious and, to be honest, very obsessed with myself. Being like that robbed me of memorable moments with friends and family. Even when I was with them, I could not escape my thoughts. Losing those moments is a big loss.
How is life as a music producer?
I can’t complain. I’m doing what I love. But people on social media tend to make it seem like a dream job. What they don’t say is that it often always leaves you feeling lonely. You will be travelling a lot, shuffling between hotel rooms and party floors. Always on the move. On paper, it is a fabulous job, but definitely not rosy.
How did you feel after landing a contract with music giant Universal Group?
I was very lucky. I know some people who are supremely talented. If you give them a keyboard, they can make great music in a jiffy. But eventually, they wear out. Talent alone would not suffice in this industry. You also need support. So this association with Universal is very good. It feels like we are on the same page. It has opened more avenues for me.
According to your website, your music is “a subtle mix of techno, new wave and EBM.” How do you want audiences to feel your music?
There are two things — both distinct from each other. Music style and mood. I believe my music is a composite of many influences. Paris 1985 is very pop, very ’80s, smooth. Other songs sound more techno and hungry. Though different in style, the emotions they evoke are the same. So, when I make a song, I don’t go by style. Mood dictates the music and lyrics for me.
Your works, especially Paris 1985 and Mistress Violet, seem to deal with provocative or confrontational themes. Could you elaborate?
There is a story behind Paris 1985 — a very personal one. It seems confrontational, yes, but I’d blame the words for it. Words can sometimes tweak the meaning of the song. Mistress Violet is about a popular drag queen. The song talks about having two identities.
What projects are you working on now?
I have a few upcoming projects in the USA. A new EP is slated for release in early 2024. I like to do some cinema work as well. That would be good.
How do you want to be remembered as an artist?
Music is good, but human connection is everything. I’d like people to say, ‘Yeah, he made some good songs, but he was super cool. He was a nice person, and we had a good time.’ That’s important to me.