PROFILE

DEEP FOREST Deep Forest is a group of two musicians both living in France. They are the keyboard players Eric Mouquet and Michel Sanchez. The duo came onto the scene in 1992, with a new musical style that unified parts of traditional songs from African Pygmies (preserved by UNESCO) and digital sounds. Since then they have produced many pieces based on sacred songs from around the world, such as Africa, Eastern Europe, Latin America and Madagascar.

Their original thought to use pygmy music for the debut album was quite shocking. For how long have you had a taste for world music?

Eric: Originally, I had an interest in Celtic music and Michel in African and Indian music. We decided to make have an African theme for the first album. At the time we composed songs based on African ethnic music originally recorded 20-30 years ago.

That method is very original. Your method more than copies African music, but revives the pieces with technology, and that’s fabulous. I listen to it with my heart beating. I assume that you gather huge amounts of material to make a song, but do you make a trip every time.

Eric: When we want to make a song we go to the world music corner of different shops.

What shop, do you mean a CD shop?

Eric: We gather songs that we don’t know and when we find some interesting pieces, then we decide to go traveling. I have many friends who are musicologists and ethnomusicologist so we get their advice, before going journeying to gather music recordings.

So you go to a CD shop in France and then go off.

I believe you went traveling to make your first, second, and third albums, but the products bring to mind images in which both of you walk down on the street and tape music with recorders. What is it like, do you go alone or do you bring lots of staff with you?

Eric: I don’t bring much luggage with me. Recently I brought a video camera and recorded music with images, using 16-bit recording. I often go with my friends. When I visited Belize I casually recorded some pieces, but at other times I rented a 4WD (car) and drove down rural roads with a dozen people. But there is some interesting music even in urban areas.

So do you walk on the streets of a metropolis and record?

Eric: Yes I do.

Michel do you do that too?

Michel: I’m also the kind of a person who uses DAT and microphone, but before I go I always find someone who knows the local area and who can introduce me to interesting musicians. I gather information from them, and then I visit various villages. In some places local folks do not sing songs upon our requests. So we skillfully collect information ‘ahead of time’.

I have a background in classical music so when I hear that you record folk music, it brings to my mind one episode in which a man by the name of Bartok (spelling) visited Hungary and Romania and brought their music home, using them to compose new pieces. So do you like Bartok?

Eric: In the world of classical music, musicians had visited all across Europe and taken note of various ethnic music. Bromus also took influences from gypsy music and used them in his music. So I don’t think there is such a thing as a totally spontaneous idea popping into one’s head. I believe we have a trend in which musicians inherit works by past musicians and composers, and then add new elements to it.

I think so too

I think Paris is a good place for ethnic music, or people who like that type of music remain in Paris. How did the city of Paris influence both of you?

Eric: Paris is a capital of world music. France has incorporated many immigrants from various countries. We ourselves are from northern France, a region that had many Spaniards 200-300 years ago, and is also very close to Belgium and the Netherlands. So it’s a gathering ground for people from many countries. Even in France overall, there are many people who visit from Africa and Asia. So music of many countries has been part of us.

Foreigners like Picasso did great work in Paris, and other historically important artists also did some of their best work in Paris. When we think artists are from Paris, they are all really from other countries. So is this where Paris is accepting?

Eric Yes there are many such people like that.

Do the French have that kind of a style nationwide, or is it something that the city of Paris has alone?

Michel: I don’t think Paris has genuine Parisians.

Tokyo may be like that too. (Laughs)

Eric: Many are from rural areas, and we ourselves are from the state of Nord in Northern France. Many labors came there from Italy, Poland and Spain, and left their cultures there.

Deep Forest has always articulated colors and themes in each album; the first album had an African feeling, second one European, and third one with rhythms of South America. What is the focus of the new album?

Eric: Since it’s not yet complete, so I only have a vague notion of the theme, but it will have various aspects from India, China, and Japan. And the album will also have Beverly Jo Scott, so it will have some gospel influences. I will also add Turkish music. Electronically I would like to add various newly engineered sounds to it. The album Comparsa had an entertaining and joyous image, but the new product will be different from it.

Because there was no Asian tastes before it sounds new. If you need a new sound from an instrument I have various kinds of instruments and can give you samples.

Eric I had visited Japan at the beginning of the year and recorded sounds of the Shamisen (Japanese string instrument) and some songs I think we have a national interest in Japan in France. When we visit stores in France we see many Japanese things. We here Japanese sounds in commercials. In the late 19th century Europe developed an interest in the Orient and I think we have that once again 100 years later.

When I visit Paris I get surprised by all sushi on sale. I see many things other besides food but when I see Van Gogh’s painting based on Ukiyoe (a style of Japanese painting in 16-17th centuries) I see Gogh’s world different from Ukiyoe. I find it interesting. I would be delighted if you make music just like Gogh’s Ukiyoe.

Eric: Thanks I’ll try

Eric: It started out easily; Mr. Miyamoto emailed me and asked me to write a piece. I had heard his music and it had impressed me. In my reply I said I would be happy to do so. In today’s age of internet, everything is convenient, so I sent him a demo sample in mp3 format. Mr. Miyamoto liked it and he came to France for a recording session. We hadn’t met each other until then. We met that day and played in the studio and worked together while forgetting we were Japanese or French.

Oh I see

Eric: Miyamoto’s staff said he could produce the sound of high ‘Mi’ nicely, and said please produce a song based on that. We kept that in mind when I made the song but when I thought he could raise a note in the studio, I asked him if he could make an F sharp. He said he had never done it before. He then wondered how high he could raise the sound.

It’s mysterious to have that high tone in the song.

I think the journey and music are inseparable and people can make music while traveling. What is the travel like for the both of you?

Eric: Traveling is part of my life. Ever since I started Deep Forest I have traveled around the world. I have been abroad for leisure but I never met many people at work until then. So I thank Deep Forest. Ever since Deep Forest began I have been around the world and it’s a big pleasure to come back to France.

Michel: Compared to Eric, I didn’t like travel very much (laughs). I had trouble in the beginning. Rather than truly enjoying the trip, I look at myself outside France by saying what are the French like compared to Indians or what are French like as compared to Americans. So I go abroad for self reflection, plus I like nature very much, so I enjoy the nature of various countries and I have more interest in the life styles of the families in those counties, than which hotel looks better.

Thank you very much for your time.

Eric & Michel: Your welcome.