jean claude ades - press clippings

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Page 1: JEAN CLAUDE ADES - Press Clippings

P R E S S C L I P P I N G S

Page 2: JEAN CLAUDE ADES - Press Clippings

060N o t i o n

Rewind to 2003: Madonna and Britney have just

made it to first base at the VMAs, Paris Hilton

has flaunted her, umm, talents in home movies

and Dannii Minogue is topping the UK singles

chart with ‘I Begin To Wonder’. The latter of

these momentous (or scandalous) occasions was

down to Jean Claude Ades, a producer on the cusp

of millennial pop courtship.

Following the production and writing credits with

Minogue, the then known JCA collaborated with

the likes of The Pussycat Dolls, Deadmau5 and

The Nightcrawlers, leading into a snowballing

escapade in the world of DJing, and flanked by

the temptations of a nocturnal career. “I never

wanted to be a DJ, I wanted to be a producer

and be in the background. Everything changes and

clubs were calling me out to come and play. Once

you are in there, you get so addicted and it

is hard to leave,” insists Ades, who now spends

cyclical summers fronting some of the biggest

parties in Ibiza.

While the major labels were desperate to

transform Ades into the next DJ parody - à

la Avacci, David Guetta or any glorified iPod

shuffler - JCA wanted to head in a different

direction. “They wanted to market me like a

pop star, which I didn’t want to be. It was

too ridiculous to be on MTV and faking playing

records in front of a camera.” A profession, if

you will, that may supply a hefty bank balance,

but all the while tests an artist’s musical

integrity. “It’s ridiculous that DJs can get

paid so much money and only play from their

USB stick. I would feel ashamed for doing it.

If you really love music, a real artist would

never go so far. You have to stop your art and

stop loving it, just doing it for the money,”

explains the griped French-German producer.

In an attempt to pursue a more legitimate and

house-orientated path, JCA delved into his

obsession underground sounds via his own label,

Be Crazy Records. Waiting for our first round

of mezze, he tells me, “That’s why I created

my label. It gave me the musical freedom to

release whatever I want. If I believe in it

and know it’s going to be a strong record, I

release it. I didn’t want to be depending on

any major label.”

Asserting a proud confidence in his musical

sidestep, Ades attests how the artistic freedom

is shifting back to the artists themselves; a

21st Century privilege that means more creative

freedom, and ultimately, being self-sufficient

in the music you produce. “Before it was

essential to be signed with a major label or

have a video on MTV to have success. Today you

can do your own budget video, be on YouTube and

have your record label. If you make great music,

people will find out,” he says, midway through a

lamb shawarma. It’s no breakthrough notion that

the rise of such multimedia platforms have aided

an artists ability to become self-sufficient,

but that doesn’t denote re-branding (or down-

branding, as the case may be) to be as simple

as uploading a few tracks to Beatport under a

new name. “It was like coming from a number one

record and booked out all over the place to

a new name. It took such a long time, it was

probably not a smart move, from a financial area

it was like starting from zero.”

So where does that leave the Be Crazy label

founder at now? Well, reborn as Jean Claude

Ades, his first release, ‘Some Day’, was the

earliest of three number one hits on the top 100

all-genre Beatport charts. The aforementioned

label has now become synonymous with releasing

Jean Claude Ades’ brand of house music and,

ultimately, he is producing the kind of music

that he wants to create. “I am always searching

for new ways, trying to not copy myself and stay

original. I get bored very quickly with music

styles; I don’t like to step on the same thing

all over again.” A style that, in his own words,

can be described as ‘Deep Tech’ combined with a

love of working with vocals.

In a last snippet of manoeuvre satisfaction before

the bill lands on our table, Ades summarises,

“at the end of the day, the biggest luxury about

this business for me is you can be creative and

be free in whatever you want to be.” Whether

it’s under his own label, integrating himself

into Ibiza’s musical culture, or preparing for

the release of his 5-track EP, Jean Claude Ades

has certainly navigated the business and landed

in a place he feels proud to represent.

b/e interview

Jean Claude Ades | An Underground Transformation

Meeting over an impromptu Lebanese in West London, James Embiricos sat down with producer-DJ globetrotter, Jean Claude Ades, to find out how he made the transition from major label producer to underground maestro.WORDS / James Embiricos

Page 3: JEAN CLAUDE ADES - Press Clippings

060N o t i o n

Rewind to 2003: Madonna and Britney have just

made it to first base at the VMAs, Paris Hilton

has flaunted her, umm, talents in home movies

and Dannii Minogue is topping the UK singles

chart with ‘I Begin To Wonder’. The latter of

these momentous (or scandalous) occasions was

down to Jean Claude Ades, a producer on the cusp

of millennial pop courtship.

Following the production and writing credits with

Minogue, the then known JCA collaborated with

the likes of The Pussycat Dolls, Deadmau5 and

The Nightcrawlers, leading into a snowballing

escapade in the world of DJing, and flanked by

the temptations of a nocturnal career. “I never

wanted to be a DJ, I wanted to be a producer

and be in the background. Everything changes and

clubs were calling me out to come and play. Once

you are in there, you get so addicted and it

is hard to leave,” insists Ades, who now spends

cyclical summers fronting some of the biggest

parties in Ibiza.

While the major labels were desperate to

transform Ades into the next DJ parody - à

la Avacci, David Guetta or any glorified iPod

shuffler - JCA wanted to head in a different

direction. “They wanted to market me like a

pop star, which I didn’t want to be. It was

too ridiculous to be on MTV and faking playing

records in front of a camera.” A profession, if

you will, that may supply a hefty bank balance,

but all the while tests an artist’s musical

integrity. “It’s ridiculous that DJs can get

paid so much money and only play from their

USB stick. I would feel ashamed for doing it.

If you really love music, a real artist would

never go so far. You have to stop your art and

stop loving it, just doing it for the money,”

explains the griped French-German producer.

In an attempt to pursue a more legitimate and

house-orientated path, JCA delved into his

obsession underground sounds via his own label,

Be Crazy Records. Waiting for our first round

of mezze, he tells me, “That’s why I created

my label. It gave me the musical freedom to

release whatever I want. If I believe in it

and know it’s going to be a strong record, I

release it. I didn’t want to be depending on

any major label.”

Asserting a proud confidence in his musical

sidestep, Ades attests how the artistic freedom

is shifting back to the artists themselves; a

21st Century privilege that means more creative

freedom, and ultimately, being self-sufficient

in the music you produce. “Before it was

essential to be signed with a major label or

have a video on MTV to have success. Today you

can do your own budget video, be on YouTube and

have your record label. If you make great music,

people will find out,” he says, midway through a

lamb shawarma. It’s no breakthrough notion that

the rise of such multimedia platforms have aided

an artists ability to become self-sufficient,

but that doesn’t denote re-branding (or down-

branding, as the case may be) to be as simple

as uploading a few tracks to Beatport under a

new name. “It was like coming from a number one

record and booked out all over the place to

a new name. It took such a long time, it was

probably not a smart move, from a financial area

it was like starting from zero.”

So where does that leave the Be Crazy label

founder at now? Well, reborn as Jean Claude

Ades, his first release, ‘Some Day’, was the

earliest of three number one hits on the top 100

all-genre Beatport charts. The aforementioned

label has now become synonymous with releasing

Jean Claude Ades’ brand of house music and,

ultimately, he is producing the kind of music

that he wants to create. “I am always searching

for new ways, trying to not copy myself and stay

original. I get bored very quickly with music

styles; I don’t like to step on the same thing

all over again.” A style that, in his own words,

can be described as ‘Deep Tech’ combined with a

love of working with vocals.

In a last snippet of manoeuvre satisfaction before

the bill lands on our table, Ades summarises,

“at the end of the day, the biggest luxury about

this business for me is you can be creative and

be free in whatever you want to be.” Whether

it’s under his own label, integrating himself

into Ibiza’s musical culture, or preparing for

the release of his 5-track EP, Jean Claude Ades

has certainly navigated the business and landed

in a place he feels proud to represent.

b/e interview

Jean Claude Ades | An Underground Transformation

Meeting over an impromptu Lebanese in West London, James Embiricos sat down with producer-DJ globetrotter, Jean Claude Ades, to find out how he made the transition from major label producer to underground maestro.WORDS / James Embiricos

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