Flick through any interview, feature or mix with Montpellier born, Berlin based rRoxymore and you will, no doubt, stumble upon the word ‘organic’. You’ll also stumble across ‘techno’. As journalists, we feel we have an obligation to categorise every piece of music we listen to, but, to be honest, sometimes that just doesn’t feel right.
Upon listening to rRoxymore’s music, the description of techno could not be further from the truth. Organic, however... Organic is there for the world to see; introverted atmospheres, subtle funk and fluttering melodies combining to create a truly unique sound in the densely populated electronic forest.
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rRoxymore, real name Hermione Frank, started DJ’ing on a set of Technic’s belonging to a friend, mixing disco with funk and house and trip hop. It was the blending of these sounds, both mechanical and natural, that would lay the foundation for her own project to blossom.
“At the beginning I only wanted to play live”, she tells me; “I only wanted to play my own music.”
The topic of a live set is a natural one to come across, given the killer live set recorded earlier this year at Boiler Room and Ballantine’s collaborative event in Sao Paulo, and that she will be performing live in the 3D sound room at this year’s MIRA Festival, Barcelona. The room is a vision; seeking to “maximise the relationship between space, audio and interaction with the audience.”
I’m keen to learn if Hermione will be operating the full sensory components of the show, in addition to playing, much like Max Cooper does for his Emergence shows.
“That’s a good question!” she laughs. “I’m actually really not sure. I’m yet to see the room, but I have a few special things planned for it.”
Hermione’s unique, nervous perspective on electronic music has resulted in a flirtation with the crews of Bristol. She has released on Don’t Be Afraid and, most recently, contributed a track to Batu’s wonderful Timedance VA release.
She’s not the first from France to find it comfortable in Bristol either. With Simo Cell also breaking through on Livity Sound, there seems to be a wave of French producers that are stepping outside what is expected from the realms of techno and electronica. We finish with the very topic this conversation was born out of – generalisation. Is it annoying, always being pigeonholed by publications into a category you feel you don’t even belong to?
“I can understand why people sometimes label things”, she says. “It makes it easier for journalists or people to categorise, but, I try to be against labels as much as I can. I want to be between all of the different categories that dance music has.”
“The term techno, too. It’s such a broad term. Techno has changed so much since the early days.”
It’s an interesting point, and a valid one. The rapid growth in sub-genre has led to a lot of artists just being grouped into what is their ‘father’ category. Take Skee Mask’s ‘Compro’, for example. It’s been named as one of the finest techno records to ever have been released, but is it even techno? To be honest, there’s more jungle and breaks in there than any other ‘techno’ record I’ve ever listened to.
As the vast sea of sub-genre grows ever wider, we can only hope that artists such as these continue to blur the lines of genre - compiling works of diverse, exciting and forward thinking art that keep the culture alive and well.
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Words: Andrew Moore
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