Photography GERALD LE VAN CHAU
Fashion Stylist & Interview KEITH S. WASHINGTON
Makeup SATOKO WATANABE
Hair YUJI OKUDA
From resident DJ sets at Silencio in Paris to events in Ibiza, London and Geneva amongst others, Nathalie Duchene is taking over the Parisian Electro scene. In addition Nathalie works with numerous fashion brands such as Bulgari, Jimmy Choo and Louis Vuitton, creating sets which encompass her various influences from Miss Kitten to Jeff Mills. Nathalie Duchene has also contributed to fashion magazines in Belgium and Paris, adding to her multiple talents as an artist. And now, Nathalie is hard at work on her own productions as well.
How did you get your start as a DJ?
I always liked discovering new tracks and browsing music stores in Belgium and then one day I started training and rehearsing alone in my room.
Your Favorite place to DJ?
I am fascinated by Berghain in Berlin. That is a very unique place for me. And, for the fun of it, the PS1 party in New York City.
Best experience as a DJ?
I did the opening of the first part with Martin Solveig last year in Geneva. Sunglasses by Carrera 5022IS Interchangeable lenses with pink and yellow mirror lens. Shirt and white skirt all by Kitsune
What projects are in the works for 2015?
My first EP will come out in 2015, which I’m very excited about.
Where was the first place you played as a DJ?
It was at Le Baron in Paris.
What is the one item is your must have before you play?
My Senneiser platinum Headphone (A personal gift from a very good friend of mine who is also a DJ).
Favorite pair of eyewear?
The 6008 frame by Carrerra, for sure. Sunglasses by Miu Miu 315 €, White dress by Kitsune, Shoes by Roger Vivier
When and why did you move to Paris?
I moved to Paris 8 years ago for the creative atmosphere, that and the climate, obviously.
Favorite track of 2014?
It was “Clear” by The Hacker.
10.What kind of music did you listen to in high school?
Techno music, always. Sunglasses by Carrera 5022IS Interchangeable lenses with pink and yellow mirror lens. Shirt and skirt all by Kitsune
Top 3 favorite fashion designers?
They would have to be Nicolas Gesquière,
Raf Simmons, and
If you were asked to DJ for a PFW runway show what designer would you want to DJ for?
Chanel of course!
Coke or Pepsi?
Neither of them.
If you could work with any musician from past who would it be?
Basquiat or Warhol?
Both of them! Ebony and ivory lives in a perfect harmony in me. But If I really really must choose one of them I would go with Jean-Michel Basquiat. Sunglasses by Miu Miu 335 €, Jumpsuit,bag and handbag all vintage, Shoes by Roger Vivier
Photography JÖRGEN AXELVALL Interview SHARI MONIQUE GAB Fashion stylist Keith s. Washington
Diane Birch has been likened to pillar greats Carole King, Lauren Nyro, and Gerry Goffin, but the Michigan pop singer/songwriter is taking the reigns of her career and is about to unleash her truthful twists on preordained classical sound.
Her last release ‘Speak A Little Louder’ followed an extraordinary 2009 debut, ‘Bible Belt,’ which opened in the Billboard Top 100 and appropriately prompted Karen Carpenter comparisons. Previous to which at S-Curve Records, she honed her skills and shared the stage with everyone from Stevie Wonder to Betty Wright.
Strong through the tragic loss of her father to cancer, she surrendered herself to the darkness of days and found light and personal and professional maturity through the processes of healing – reemerging an enlightened artist unafraid of grasping – and sharing – her inner desires through sound.
A move to New York and crossing paths with Daptones drummer, Homer Steinweiss, released the inner benevolence of Birch. Touting it as a magical fusion of creative energy, Birch said, “The timing was perfect and it just worked.” “Tell Me Tomorrow,” “Diamonds in the Dust” and “It Plays On,” a tribute to her father and his enduring inspiration on her music, followed.
Though based primarily in Brooklyn, Birch also worked in the UK, where she recorded “All the Love You Got” with Adele’s Eg White, Roots drummer Questlove (co-produced with Steve Greenberg), and Duran Duran bassist, John Taylor. Followed by a bout in Los Angeles, where she co-wrote and cut “Unfkd” with Aqualung’s Matt Hales.
Stripped back, but saturated, her albums incorporate lush synthesizers and thundering drums, overlain with Birch’s ravishing and spine-stimulating vocals. There’s something unabashedly attractive about artists that can denude – in work and in life – in humble gratitude of their craft. To that end, on a blessedly sunny day in southern Williamsburg, Brooklyn at the quintessential haunt, Marlow & Sons, Birch sat with us – token hat upon her head – to let the world see deeper.
What are you working on now?
I’m taking advantage of diverging from working with large producers and taking control of my own process. For the past while, I’ve been adapting to the expectations of what my music should be and having to mold my vision accordingly. Now, it’s time to get back to where I started.
And where is that?
Growing up I was primarily exposed to classical music and my introduction to other genres came much later. I love hip-hop, pop, the Carpenters, top 40…it all. I’m distilling how those influences affected me, how they’ve taken shape through my music, and seeing what stuck from Beethoven to Portishead.
What are you finding?
I remember listening to Portishead’s “Glory Box,” with its classical arrangements and sophisticated harmony, and it breeding a feeling inside of me. I can still listen to it today and access that feeling. It is about finding those juxtapositions – R&B with melodic top lines maybe – finding two opposing forces that correlate. There there’s truth and those are the things that move me.
Where will you take it?
I’m taking those original influences that are true to my self and adapting them. I want to get in there, get weird, and morph my creative vision.
How do you know what is true to your self?
I’m asking myself ‘How do I want to be seen?’ and ‘What is this picture I have of myself?’ There are things on my first record that horrify me now and there are things that still feel so right. It’s difficult in music to put something out there because it feel like it’s this stamp on who I am and a stamp on my career. Hopefully, as I get to explore my roots and filter accordingly, that stamp will become less opaque. Meanwhile, there are those pieces from the past that are so purely me and those threads of consistency will become bolder and bolder.
What’s in store this season?
I’m collaborating on a new EP now with other artists from all walks and will also be touring this Fall. I never expected to work with so many different types of musicians, but I’m open to that experience of connecting with others that are doing something totally unrelated to what I’m about. Like I’ve grown to admire so much of the youth today. There’s a whole generation of talented musicians out there with their eyes wide open. Maybe I would even write things for other artists. In the past, I’ve held tight to what I created – wanted it to be for me – because I felt such a great responsibility in how it would come across. But, now I’m realizing that some things I write, they’re not necessarily meant to come just through me. So I’m open.
Four things you cannot live without.
My piano, good coffee, love, and perfume.
Who would you like to collaborate with most? Brian Eno. I think I even mentioned it in my last interview too. One of these days he’ll read it and be like, ‘Who is this Diane Birch girl?’
From where we’re sitting, Diane Birch is a multi-faceted musician, a woman at the edge of time, with the face of a doll and a wide-open heart, windswept to the epicenter of transformation, clarity and creativity. Injecting integrity into sound and mastering the ability to layer soul with experimentation, her work resonates with her indubitable fascination with self-reflection. Her work invites you to lose yourself in the rhythm and take it to the dance floor, all while relishing in the synthesis of our connection to our core, to others, and the universe at large. Brian Eno, are you listening?
Leather Jacket by ＹＯＨＪＩ Yamamoto
Sunglasses by BARTOn Perreira
Dress,pants and boots vintage
Photography JAKE HODGKINSON
Interview KEITH S. WASHINGTON
Jerry Bouthier is one of the founders of the London-based label Continental Records, and along with his partner, Andrea Gorgerino,produce remixes for artists ranging from Two Door Cinema Club to Jupiter and Ladyhawke. Jerry has also been the producer of several mix compilations for the music-savvy fashion brand Kitsuné, having producing his first Kitsuné compilation “BoomBox” from the underground legendary London club Boombox in 2007. His ties with the fashion industry are influential and he is sought-after as a music producer of runway tracks for fashion shows each season. 4SEE magazine has managed to temporarily ground the globe-trotting Producer and DJ during one of his most recent stints from South Africa to have an in depth Q&A on Jerry’s take on fashion and music and his repertoire as music director for various brands from Peter Jensen to Vivienne Westwood’.
Where was your first DJ gig?
God knows. I kinda fell into it without realizing. I was lucky to turn my passion into some kind of job. There was always a lot of records around at home as my dad’s a big music fan. I soon caught the bug and from 10 onwards I started collecting the vinyl I loved. Back then if you didn’t own the physical record, you couldn’t listen to it, let alone play it to other people. A solid, extensive record collection was a big thing and I started to play at friends and parties. When I go out I love to meet people and mingle but at the same time I’ve always felt that (if no one else’s was to take charge) it was my duty to provide interesting feel-good music – even if there’s no dancing involved. I’ve always been obsessed by finding the right track for the right moment. I guess it all snowballed from that.
Window or aisle seat?
Definitely aisle. When you travel a lot for work you must maximise your time in planes and sleep as much as you can. Essentially to be on point on arrival and offer the best performance.
How did Continental Records start?
It goes back years when my late brother Tom and I started to produce tracks in Paris in the early days of house and Balearic. I kept the name to honor his memory when I revived the imprint 2 or 3 years ago. Continental was (re)created in order to have an outlet to release the JBAG stuff, my music project with Andrea Gorgerino, but I soon then realized it’d be daft not to use it to help other artists/friends put out their recordings too. Without much strategy the label’s soon developed into a global roster of talented musicians. There’s Reflex from the south of France, Shindu from Belgium, Mannequine from Switzerland, Boys Get Hurt from Japan, Mjolnir and Cyclist from Indonesia and Canada respectively. It’s fascinating that we share such a strong musical bond despite our enormous regional differences. There may not be a Continental sound as such but there’s definitely a common spirit: honesty and musicality.
Your parents think you are…?
…A bit of a weirdo ha-ha! No, seriously I think, although both are quite artistic, It took them a long time to grasp the whole DJ thing. It was so new and different to start with and so far away from French culture. They let me do my thing and I moved to London at 18, which in itself was pretty cool. I’m the eldest of a big family split in two, I suppose I was just another kitty in the litter. But to be honest I wished they’d supported me a bit more spiritually and helped me organize myself and become a bit more business-minded (like some of my friends’ parents did successfully) ‘cuz for a long time I was just a zero, happy to be where the action was but with not a lot of faith in my abilities. So there’s hope for anyone after all [laughs]. What’s more, I’ve developed so many British habits over the years that they often relate to me as “the English one with funny habits!” Just another way for the French to put down their neighbors. You know what it’s like if you don’t do it the French way, then you must be doing it wrong!
How and when did you start working with KITSUNÉ?
“My collaboration started when I put together the BoomBox mix cd for Kitsuné a few years ago. That East London night was pretty wild and unique, definitely one of my life’s peaks… I had been hassling Gildas and his assistants for promos and exclusives since Kitsuné’s first comp ‘Love’, but it didn’t take us long to become music mates, respecting each other’s convictions and tastes. I guess we knew of each other from the early days of house in Paris when there wasn’t much more than a handful of party-faithfuls about, but we never hooked up then as I quickly defected to London.
How did the Highbury Eden hat project for KITSUNÉ project come about?
I’ve always been into all kinds of hats: caps, visors, bobs, army gear, you name it. But when I became music director for Vivienne Westwood (I did about 50 shows for her various labels) it was a bit of a dream come true as I’m a big fan of the punk/new romantic-pirate scenes she was heavily involved in. She gave me one of her legendary Buffalo hats – introduced to the pop world in 1983 in the Malcolm Maclaren video ‘Buffalo Gals’ – and I started wearing it. At first I wasn’t convinced that hat was gonna work for me, but it felt funny, kinda punky in its own way and I soon fully embraced it, which helped me create a kinda rockin’ Mickey Mouse character, a kind of stage character I could drop once offstage so I could take it all with a pinch of salt. I ended up with a dozen of them in all colors and pretty much wore one at every single of my gigs for 5 or 6 years. It became a bit of a signature although I was by no means the first or the only one wearing them. A few London friends have some and wear them, they’re quite popular with the ever-so fashion-conscious Japanese too. That was until Pharrell Williams started to wear a Buffalo hat in the video of ‘Happy’ (the most downloaded track ever in the UK) and that look was killed almost overnight for me. From then on I couldn’t go anywhere without people giving me grief. So I took the bull by the horn and asked old BoomBox buddies Bernstock & Spiers to work on an original design with me which I could claim paternity for. When Kitsuné boss Gildas heard about the collab, he suggested they produce a very limited quantity to be sold in the Kitsuné stores. Perfect timing with my new mix CD ‘Kitsuné Trip Mode’ that just came out in September. The hat I designed is called the Highbury Eden since I’ve just moved to Highbury and it uses the shape made famous by ’30s British Prime Minister Anthony Eden. We’ve reworked it to create that over–sized feel which is so much fun with the Buffalo hats.
I’m not a huge fan of sunglasses to tell you the truth. Too many idiots walking around as if they were film stars. Certainly would never wear a pair in a club or when there’s no sunshine. Now, although coming from a Mediterranean family, I’ve become a proper Brit and can’t stand staying in the sun more than 5 minutes in which case sunglasses become more essential. I find with sunglasses, less is more. I either wear Ray Ban’s Aviator or Wayfarer. The more discreet the better, a bit like cars.
Favorite 3 albums in high school?
“Low Life” by New Order
“Cupid & Psyche 85” by Scritti Politti
“From Memphis to Langley Park” by Prefab Sprout
Singapore’s is one of the biggest, most advanced and practical airports I’ve ever been through! But I have a soft spot for Narita in Tokyo. Narita Airport has tiny rooms you can rent cheaply for as short as 30 minutes so you can wash and sleep for a bit. And it’s the most used gateway to Tokyo, possibly the most exciting city in the world. I could go live in Tokyo tomorrow if I had the chance. Such a fabulous culture, mixing tradition and futurism with style and enormous subtlety, precision and kindness: mind-blowing.
Any interest to produce more fashion show runway tracks with other designers?
I’ve been so busy running my label Continental as well as writing and producing with JBAG that I’ve done less fashion shows lately compared to a few years ago when I was working for Vivienne Westwood and could produce up to 8 soundtracks during London Fashion Week. I’ve got long–running relationships with Peter Jensen (10 years!), Korea’s Songzio, London’s latest enfants terribles Sibling, and over the years I’ve developed fruitful collaborations with the likes of Matthew Williamson, Roksanda Ilincic, Kokon To Zai, Michael van der Ham, Jonathan Saunders, Osman, B Store, Garza Lobos in Buenos Aires and many others, it comes and go all the time. What I’m really happy with is that all these experiences have led me to heavily reconsider my comfort zone and stretch my boundaries as a dj, it certainly enabled me to explore combinations and concepts further, take more risks, and think outside the box, which is often the goal in fashion. I’d love to work with the big brands such as Prada, Channel etc, take them into the 21st century.
Photography BERT SPANGEMACHER
Interview JULIA WELLER Titel RAY-BAN Clubmaster RB 2176 990 220€
Pablo Heras-Casado was born in Spain, but today he constantly travels the world to conduct his own orchestral arrangements. He is known for the remarkable range of his repertoire, from classical to contemporary music. His performances are mesmerizing as he meticulously conducts the orchestra without a baton. He manages to manipulate the orchestra and make the music at once compelling and relatable; not to mention the fact that he always finishes his performances with a cold bottle of beer. During a recent tour in Berlin he stopped by our studio for a photo shoot and a few questions. We asked him 11 questions to find out a little bit more about this promising/inspiring young conductor.
IC! BERLIN MIKE SUN Matt Gold 300€
Who are your favorite composers and musicians?
All the good ones!!! I have a very wide taste for good things, and it´s the same with music.
What was the most memorable live performance you went to?
Lately, the most striking performance I´ve heard [was] of Stravinsky´s Rite of Spring, with Simon Rattle and the Berliner Philharmoniker at the Luzern Festival.
What are your favorite films of all time?
I´m a big fan of the Godfather trilogy! I´m also fascinated for different reasons with Fritz Lang´s Metropolis. And I like Italian classics!
What book has influenced you?
Probably the Bible, even if I´m not a religious person.
IC! BERLIN CLAUDE Fashion Silver 300€
What are you working on right now?
I´m rehearsing very intensely for 2 performances at the first New York Philharmonic Biennial. It´s a new music festival in which I´ll conduct my orchestra, the Orchestra of St. Luke´s, with 2 different programs devoted to the composers Geourge Benjamin and Pierre Boulez. I´m also preparing for Mozart´s Magic Flute in Aix-en-Provence next week!
How would you describe your perfect day?
A very long and sunny day starting with some sport, plenty of great music-making, and ending with a wonderful dinner in the best company.
What are your favorite cities?
Granada and New York.
What is your favorite eyewear? And what style do you like?
I’m very eclectic as with most of things, but I´ve had several Ray-ban glasses – simple, sharp and classic style.
How many pairs of glasses do you have?
3 glasses and 3 sunglasses
IC! BERLIN S2 HUMBOLDTHAIN Diamond 405€
Is there something you would like to do more of in the future?
I´d like to spend some more time in my garden!
What are four things you can’t live without?
Family, music, Granada (home!), Sun!!
Photography: GERALD LE VAN-CHAU
Interview: KEITH S. WASHINGTON
Glasses: ØRGREEN NORTH 471 Mat Brown / Aubergine
The premier digital issue of 4SEE Magazine features the heavy electro upbeat synthwave producer CARTRIDGE 1987 whose experiments involve weaving samples from classic minimal 80’s underground cult favorites. Adrien Dirch a.k.a. CARTRIDGE 1987 composed an exclusive track “This is a Good Day” for 4SEE.
What city are you based out of?
What is your favorite venue to perform at?
What influenced you to start your path into music?
I used to listen a lot of different stuff, from reggae to hard rock. I first discovered electro with Daft Punk on their first album when they created the French touch. From then on, I was listening to just electro, minimal or hard tech. When Justice came out on the scene, I was very fond of them and then I decided to try to recompose their track in order to find myself and my path in music.
What is most important to you when you DJ?
The most important thing is to play stuff that I don’t hear at clubs, to express myself and to play tracks from new artists who really deserve to be known.
Coffee or Cigarettes?
What is your favorite pair of sunglasses?
The Ray Bans from Tom Cruise in Risky Business.
What is your current project?
My album that I worked on together with my brother is coming out at the end of September and it’s called “Grand Soleil” from the Pains Surprises recording label.
Who were you in high school?
I was a skater/rebel clearly, but we were all like that in this school.
What are your top 3 favorite songs?
“Goodbye Horses” by Q Lazzarus
“Brainwashed” by Daft Punk
“Live on Brighton Beach” from Fat Boy Slim
What was it like the first you deejayed in public?
It was in a cheesy bar in Paris but with a great sound and the furniture was amazing!!