"Riffs Are Like Parts of a Puzzle"
DRLCT Founder Fantin Reichler About His Album, "Médéé"
I recently introduced you to Fantin Reichler (The Kompressor Experiment, Méandre) and his project DRLCT in my review of his album, 'Médéé'—a record that deals with grief and farewells but also gives hope. In my interview with him, he revealed numerous details about his music and life..
Anne: Hi Fantin! Thanks so much for taking the time! How are you doing today? What are you currently working on?
Fantin: Hi Anne! Thanks for having me. I'm working on the release party of my new album. There's a lot to do, but it's really exciting.
Anne: It's so cool, you're planning to release a vinyl version of your album, "Médée", which you released in May. It really deserves to be put into this beautiful physical format and sit on people's record shelves—and players, of course! Was this more like a spontaneous idea, or was it part of your album release plan from day one?
Fantin: First of all, thank you for the compliments about my album. It goes straight to my heart because it's a really important record for me. Its creation was spontaneous because of its whole concept: It was really a way for me to cope with grief, and it turned out to be a full release in the end. Nothing was planned, but I'm glad about the way things turned out.
Anne: Following on from the last question: Would you say you're more of a spontaneous kind of person, or do you like to plan everything upfront? You know: When it comes to writing music, it's so incredible. Some people are working with a big overall concept whilst some seem to figure everything out when they feel like it, and both types of people manage to record the most inspiring songs and albums, don't you think?
"Spontaneity and control are close together"
Fantin: I think I'm between those two worlds. As soon as I have an inspiring riff or melody idea, I open my phone's voice recorder app and play it on a guitar, synth, or even hum it. Sometimes, it's great, leading to songs I'm proud of, and sometimes, it could be better. When I have a sufficient amount of "great" riffs, I arrange them like puzzle pieces, and I try to make them fit in different orders and orientations. That's my favourite part of writing music; anything goes, and it's really satisfying to find the "perfect" arrangement. Then, once I'm happy with the final form of a song, I stick to it and I like it to be played exactly as I wrote it. So spontaneous at first, then a total control freak.
Anne: You wrote the four songs on "Médée" in honour of your sadly passed mother—my condolences.
By recording these tracks, you created something truly beautiful that will stay forever out of one of the darkest times of your life. And it also helped you to work through the pain of her loss, I guess?
Creative processes can be a very strong tool in processing moments we live through—from the sad and heavy ones to the happy and light ones. Has songwriting and your creativity in general always helped you process things?
Fantin: Thank you for your kind words. Usually, I don't like to be too upfront or "show off" with my emotions because I don't like to complain. I usually don't want my songs to reflect specific emotions or turmoil that I can feel. But music and, more broadly, creativity are definitely driving forces in my life; they give me meaning and direction even in dark times. And yeah, the last couple of years have definitely been a dark time.
Anne: Music and other products that come out of human creativity help us process and deal with our emotions to move on. Did making "Médee" also help you to move on?
Fantin: I'm unsure if I can answer with a definite 'yes' to this. The last months of my mom's life were dedicated to helping her die in the most peaceful way possible; it was my only life goal for three months. The day she died, I felt I had nothing left. I felt this black hole of infinite sadness and grief, an infinite void devouring me inside out, and I couldn't find the courage to face it at that moment. All I could do for two weeks was to write music until I wasn't able to stay awake any more. Four songs emerge from this chaos, each representing an aspect of my mom's final ordeal. They have a specific meaning for me, and it's a way to never forget my mom, the time capsules of her final moments. In the end, this record gave me a sense of purpose, and it is my way of not letting my mom go—forgetting her struggle feels like betraying her.
Anne: After farewells come new beginnings. What was the first thing you did after finishing this beautiful record? Did it feel more like a goodbye or like the start of something new?
"We are currently working on live versions of the songs"
Fantin: Once I finished the four songs, I didn't know what to do with them. I shared them with my brother and musician friends, explaining how and why I wrote them, and all encouraged me to go forward and try to release them as a complete record. I'll never thank them all enough for pushing me in those times. Six months later, I was in the studio recording the album, and soon after, I discussed with animation artists online in order to offer each song a complete animation music video. Now, the album will have a physical release soon, and we will even play those songs live together. We've been working for six months on the live rendition of "Médée". The line-up is quite huge, consisting of two drums, three guitars, one bass, and one synth. I'm really looking forward to presenting those songs live, with the animated music videos playing behind us. For me, it will be the total DRLCT experience, and I hope we'll be able to play it live a couple more times.
Anne: As a musician, you're also part of the band Kompressor Experiment. What else distinguishes your work for KE from working for your solo project, DRLCT?
Fantin: I think TKE's songs are a bit harsher but definitely more progressive and complex. TKE's music also has much more abstract meanings than DRLCT's. But yeah, there are similarities, even though I tried to write something different for this new project, something simpler, more organic and flowing. Plus, DRLCT's live line-up includes all current members of TKE + its former drummer. These guys are like family, and there was no way not to include them at some point in this project.
Anne: Is "solo" project the correct definition for DRLCT? Or is it more like a private side project? Would you say KE is the main stage and DRLCT is, in a way, a prequel, or is it the other way around?
Fantin: I don't know if "solo project" is the right term, but I had complete creative control over this project, and that's why I call it that. We had to pause TKE in the last months because DRLCT live is a lot of work. But TKE is still alive; at the moment, we are writing new songs, and we are really excited to hit the road again and hopefully release new material next year.
Anne: Have there been any other bands for you before you joined Kompressor Experiment?
Fantin: My first real band was Frozen Sword. It represented my first stage experiences back in 2008. Even though we weren't that good at the time and never became the epic heavy metal legends we wished to be, it will always have a special place in my heart. Then I put together a Pink Floyd cover band called Picture Folded, which was a lot of fun, and a few years later, I joined Helium Echoes, a grunge/prog rock band. Both bands are sadly over. Currently, I'm also playing guitar and synths in a French-speaking synthpop band called Méandre. It is a huge genre leap compared to TKE or DRLCT, but it is still a very interesting way of approaching live music, and I love to pour my post-rock influences here and there.
Anne: What was the most inspiring thing you ever witnessed?
Fantin: In August 1999, we took a family trip to Germany to witness the total solar eclipse and even photograph it (my father was in an astronomer club). We happened to be near Dachau's concentration camp because it was right in the path of the total eclipse, and there were a lot of large crop fields where we could settle. We were in a wheat field, and I was really looking forward to watching the eclipse. My mom explained to me that a lot of innocent people suffered and died where we stood, and that she was really sad and overwhelmed. Then the eclipse started, the light dimmed quickly, and the entire wheat field started to make rustling and clicking sounds—due to the sudden light/temperature change, I guess. When the eclipse was over and night turned to day, the wheat rustled and clicked again. I don't know if my mom saw it as a paranormal sign, but she was shaken to the core. That day, she showed me a glimpse of a more symbolic and mystic dimension to this world. I just have to look a bit deeper.
Anne: If there was one thing in the world, you could change. What would it be and why?
Fantin: I want my mom back. It's selfish and too much to ask, but I miss her so much, and I love her infinitely. I still really can't make sense of her death.
Anne: What advice would you give to people who've just completed a project that is very important and significant to them?
Fantin: Don't hold back. Cry it to the world, it deserves to know.
Anne: Thanks for answering my questions! It's been a pleasure speaking with you!
Fantin: Thanks again for having me and for shedding some light on DRLCT. It was really lovely.
Check out my "Médéé" review now!