Terminal V Podcast 067 || Parfait

If anyone knows about the contemporary French techno scene, it’s Parfait. It is not a country that is often associated with techno these days but this new school artist is doing her best to change all that. She is keen to defend the scene’s independence through parties in free hangars and warehouses, as well as with her work as part of Possession. It is an LGBT+ community and label she co-founded while also directing and writing films that reflect her various artistic tendencies. As if that’s not enough, she is soon to launch her new label CDLF with the ambitious aim of putting out one new track a week in the lead-up to a first various artist compilation.
Here she speaks to us about that as well as what makes her native scene unique, how her role as resident DJ at Possession is different to her headline sets around the world and about the challenges presented by playing a summer of festivals. Next to that, she has provided a bouncy, raved-up and colourful mix of hard and fast techno that represents some of her current favourite sounds.
How has your year been so far, what’s been good and bad about the first half?
I think this is the first year since COVID-19 that I’ve had almost no date cancellations, which is silly to say, but I’ve noticed it. I don’t know if that means we’ve moved into a new period, but in any case, I have the impression that we’re finally really out of that period of confinement etc. The start of the festival season has been a real success. The start of the festival season has also got off to a great start, and I’m really excited about the summer months ahead, looking forward to playing, getting people dancing and having fun.
What defines the French techno scene do you think, does French techno have a specific energy, sound, or attitude that is different from say Berlin or Detroit?
For me, what’s special about the French techno scene is that it’s always having to push the boundaries and invent new ways of partying, unearthing spaces and hijacking venues. I think the underground culture in the “outside the market and classic party venues” scene is mainly due to the fact that the French government has never recognised techno as a real part of its cultural heritage, unlike in Germany or the Netherlands, for example. When it comes to more accessible electronic music, no problem, but the demonisation of techno and its audience has done a lot of damage to the scene. But in a way, it’s also a strength: promoters, artists and ravers have to be creative, motivated and fight hard not to be swallowed up by the steamroller of repression.
How different is it playing there as a resident versus headlining at other parties? Do you approach your sets in a different way, are you more free?
I can see a difference between the sets I played when I was a Possession resident (especially those in Paris) and when I play at other parties. The main one is the fact that in Paris, at Possession, I was at home, it’s like a soccer team playing at home, I was surrounded by all my friends and the public who knew me, an emotional relationship with the crowd. But it wasn’t necessarily better, I had a certain comfort zone because whatever I played, it took all the time. The challenge of playing outside, in countries or events I’m not familiar with, is that I have to convince and seduce. It’s a perpetual challenge, and there’s no time to rest on your laurels.
It is festival season now. How much does that affect the music you make and play, given that so many sets are outdoors and in the sun?
YThe main difference is that, in general, festival times are much longer, so there are more artists or longer sets, and you can take your time. In other words, the audience is there for 10, 12, 14 hours or even two or three days, so you don’t have to chase efficiency, you can take risks. I know that when I play outside, in the middle of the afternoon, I tend to do sets that are sunnier, and also less efficient, so I take the time to get into the groove with the genre and gently lead them into edgier pieces. We chill, we groove, and then it gradually ramps up.
Tell us about your mix, the aim you had with it, and what you wanted it to say.
I wanted it to be very danceable, energetic, and hard techno but not just that, with drops but also surprises, melodies, and things you wouldn’t expect, it’s a mix that’s 100% made up of my favourite summer tracks so far. And I love them. I hope you enjoy it.
TWhat gear did you use, is that important to you in any way whether in the booth or studio?
I went to record the mix in the Nexus studio in Paris. I’m lucky enough to be close enough to the team of the club that they let me enjoy their equipment when I need it, and that’s great because the recording quality and the conditions I was recording in were perfect. I had a club set-up: 4x CDJ3000 and a Xone 92. Thanks to them, otherwise I’d still be struggling to rent a rough studio in Paris. NB: I need to think about getting my own equipment ahahah.
What’s next for you? Aside from gigs what do you have coming up/what are you working on?
I’ve just launched my label CDLF, which stands for “Comme dans les films” (“Like in the movies”). Every week, I release a new track which is part of the first VA. There’s the release party in Paris on September 19, the vinyl release and then a rather special object halfway between music and cinema (but you’ll see, I won’t say too much about it), and at the end of 2024 and beginning of 2025 there will also be several EP releases from artists I adore, and then some merch too. 2025 is going to be busy, but I love having new projects, it stimulates me.
Interview by Kristan Caryl