![]() ![]() His Idea was Simple: Take a Trip Back to the Parisian Market Place in the 70s and Create a Soundscape for the Type of Tunes Heard in the Shops. Which means pop diva production is only a step away. Compiled, Produced, and Mixed by Etienne De Crecy. ![]() How else could you explain these Latino guitars and modem squawks? If Tempovision is trying to be anything, it's probably a response to seeing De Crecy's own Air/ Daft Punk disciples get the coiffured crossover treatment and knowing that there's always room for one more. In Ibiza, disco house took later another direction: it combined vocals and some elements from the UKs speed garage (a mid 1990s music style) with a local Latin flavor. There are bouncing squelches in the Zombie Nation-vein here ("Out of My Hands"), classically skewed big beat stomps over there ("Relax"), but the album really goes for the gullet when it doesn't know what in the world it wants to be. Both Daft Punk and Etienne de Crecy subsequently developed a harder synthetic sound more directly inspired by techno, electro and pop. Squiggling past looping divas, afternoon glares, and funkadelic body bops, De Crecy manages to manufacture a trail of songs that reach for that Anglo-French brass ring with nothing but admirable gravitas. By 2000, French house had passed out of fashion faster than some snotty indie kid could ask, "Mirwais and Madonna?" Yet this was the precise time when Etienne de Crecy - widely believed to be one of the most influential dance acts to ever come out of the scene - finally decided to release a personal full-length album under his own name. ![]()
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