Inspired at a very young age by blues, funk and electronic music, France’s Bomel is above-all a pianist who has always sought to give a very important place to rhythm within his compositions yet allowing him to turn the piano into an independent ensemble. This aspect perfectly molds with certain melodies, inspired by great film composers, whose softness takes us on a journey through emotions. Bomel is an artist who is both musically complete and innovative. He gives great importance to acoustic instruments in his electronic productions.  

In this Funktasy Spotlight, Bomel chats about his life, his new single and his creative direction.


What’s a daily routine for Bomel?

As my Bomel projects started quite recently, the actual situation obviously had some influence on my work schedule. I don’t really like the routine concept, but I usually wake up, have a good breakfast and then work on my projects. The thing is that I hardly stay on the same project a very long time, once I work on a track, ideas often pop out so I start something new to see if that idea is good and could be a song. I mainly work during the day, I want to be free at night to enjoy a nice red wine with friends!

What’s your inspiration behind your unique music creation?

My creativity inspirations are vast. I can hear something in a song, a music film or an ad that will give me an idea, or just sit behind the piano with a certain mood in mind and just play and see what happens. I recently joined the AOC Records family and can now play with other artists that have become my friends – it is a very efficient way to compose. Just playing, jamming, trying things with people that have another approach to music is so inspiring. I’m always learning and that’s why I love my job!

What are the themes you pursue in your music?

My definition of music is a journey, being able to take people somewhere with you. It goes from reminding them of memories to just seeing their shoulders moving with the beat. I’m addicted to making people dance. It is the best reward for me! As a comedian, that would be transcended by the laughter of thousands of people. I want to see people in front of me expressing their emotions. To see in their eyes that they’re forgetting everything else at this moment because they are with you. They are with you in your journey.

Tell us about your creation and production method. The integration of Piano? Do you work in the box/analog/hybrid?

I work a lot with the looping process. It allows me to quickly record different instruments and overlay them. I get to see in five minutes if the project has some potential and if I can visualize a structure for it. The piano has a major role in my productions, 99% of my tracks have started with the piano, although there might not be any piano at the end! It is a very complete instrument with a very wide sound range that allows me to project my ideas. I mainly work in the box because today we have digital tools that allow us to do nearly everything, but there is always an analog touch in my work and this is very important to me. I think most of us, including myself, have become lazy with computers. The analog process forces you to create a sound… As the scientific definition, you have to try things for hours before finding the right sound. Just as you don’t pick the first of sound from your VST that sounds good, you look for the perfect one. I don’t do enough analog, but I am starting to learn it, especially with my friends Bellaire and Georges.

Q: Your new single, “Ossumba”, tell us about it… What does the title mean and represent?

It’s my first track with a deep house influence! I was looking for some vocals samples for another track, and when I heard those voices, I immediately started a session with a pretty clear vision of what I wanted. The vocals were magnificent, so I had to compose something “that takes time to listen to”. It means that I can’t appreciate this track if I just listen to 30 seconds of it. I really tried to start somewhere specific and carry the listener with me. There will be other tracks in that style, because I freakin’ love it! These are the tracks I play at the end of my shows, because if people have already been dancing and enjoying the first part of my show, it’s my role to take my show to an unexpected level. I really hope my fans will be receptive to my performances when touring will be possible.

You are also releasing a music video for your last piece “Work For Love”, can you tell us what the video is about?

I personally prefer playing music than listening to it – especially when it’s not mine by the way! That’s the spirit of these types of videos. I want to show  people that I can do what a DJ would do at a festival, but with instruments. I want people to see that you can dance the same way and that it is possible to make live electronic music. The other theme of this video is humour; I can’t play good music if I am tensed or if I am being too serious. I play firstly for myself. I have to enjoy my music if I want others to enjoy it too.
Bomel

France has an excellent reputation for exporting world-class electronic music acts such as Daft Punk, David Guetta, Joachim Garraud. Does this benefit you as an emerging artist?

Yes and no I presume. I can’t guess people’s reactions when they know that you are from France. I have a French touch influence because it’s the music I have grown up with, but on the other side a lot of extraordinary French artists have deeply contributed to the Electronic Music scene, so the level and the pressure can be quite high when the goal is to be able to one day have a similar career level.

What is your dream project?

I think it would be an orchestral tour! I would really love to play my music with an orchestra. Elton John did it at the Royal Opera House in 2001 and it’s one of the most beautiful video I’ve ever seen. I also had the chance to see Hans Zimmer at the Accor Hotel Arena in Paris, and that was the exact definition of a musical journey. My dream project would be this – playing on beautiful piano with an orchestra and reworking all my tracks.

Interviewed by: Dominic Wren