Thomas Bücker aka. Jean-Michel
Thomas Bücker is somehow a mysterious composer. He first discovered techno as a youngster, but when he starts producing in the early 2000′s under the curious name of Jean-Michel (maybe referring to Jean-Michel Jarre?) he releases IDM albums, Warp-like abstract pieces of music which will become more and more cinematic over the years. Having founded his own agency, eins_a, as a sound-visual engineer, the Jean Michel project isn’t enough for Thomas, and he starts to produce in 2008 under an even more evocative name. His Jean-Michel was the Yin, Bersarin Quartet will be the Yang of this polyvalent artist. This upsetting yet poetic ambient album initially released on Lidar will be repressed by Denovali, under the simple title II. What we wouldn’t expect has become real : Thomas conducts a full hundred persons orchestra simply using a software. II being one of our top albums of 2012, we thought that you would like some more. Here is for you one hour of pure eargasm selected and mixed with care in his studio in Germany. 60 minutes to sail in deep waters to the crooked coasts of Aphex Twin, Pangaea, Raime but also to ambient shores with Brambles, Voices From The Lake, Tim Hecker, Deaf Center…
1: „tons of fun“
2: the philosophy of my small eins-a graphic design-bureau: „die dinge sind nie so wie sie sind, sie sind immer das, was wir aus ihnen machen.“ (und jetzt erzähle ich euch ein Geheimnis: es gibt dinge, die sind einfach mist – egal, was man aus ihnen macht!!! aber die postkarten mit diesem spruch sind nun mal gedruckt … )
3: die realität ist oft grausamer als die wirklichkeit
What is the biggest inspiration for your music?
Music I like. Music I don’t like. (always good for sampling a sound-particle). Friendly musicians. Technology. Films.
How and when did you get into making music?
Oh no … this is so boring!!! :) alright … actually I´m happy you asked for it: my first intense electronic experience was the German radioshow „schwingungen“ (war 1) with win fried trenkler 1989. He played music with „no vocals“ — this was very important for me at the age of 14 … don´t ask why … pure electronic instrumentals worked pretty fine for me when I was a teenager… tangerine dream, klaus schulze … and yessssss … jean-michel jarre! (and this is really a secret, I tell you!). Luckily some years later I was socialised by some friends with lots of different interesting music — the analog way or digitally made.
What are your 5 favourite albums of all time?
huh … difficult. „favorite“ in the term of „most often heard“ or „favorite“ in the term of „most important album which influenced your musical awareness“!?!? probably the last one:
portishead — dummy
mouse on mars — iaora tahiti
lusine — serial hodgepodge
burial — untrue
jean-michel jarre — zoolook
[… and much more …] (no special order)
What do you associate with Berlin?
It depends on the venue or the area: very friendly, culture-interested, open-minded people … or people who get on each others nerves with their coolness (maybe this habit is a capital-thing!?!)
What’s your favourite place in your town?
If there was no music in the world, what would you do instead?
Silly things … like breaking mercedes-stars of big cars or beating lighted street lamps … or watching „wetten dass“ … such things. I don´t even want to think about it!
What was the last record you bought?
elemental — „messages from the void“ (runtime)
2562 — „unbalanced“ (tectonic)
Who would you most like to collaborate with?
jean-michel jarre … no just kidding. But … no definitely … yes. Nope. In no case. Although …
What was your best gig (as performer or spectator)?
As a performer: it feels like a very long time ago … the „madeira dig festival 2009″ — this month! (december) best environment, friendliest people, best active and caring technicians …
As a spectator: the gig of „love666″ a long time ago at the glees 22 in my hometown münster. A totally fucked up great wall-of-noise … and the keyboard was thrown off the stage exactly in front of my feet. the keys bashed to the ground … and „love666″ left us spectators with our chins dropped. (this was a performance-element I always wanted to copy someday — although it looks ridiculous in my performance … so be aware!)
How important is technology to your creative process?
It’s one of its main aspects. Its important to protect yourself not being the bitch of technology … but it’s difficult not to be.
Do you have siblings and how do they feel about your career?
None of it — they don´t understand what I´m doing, but I love them anyway.