Etienne de Crecy is a discrete but key figure of the international electronic scene. In a career spanning over fifteen years, de Crecy has produced one of the major albums of electronic music: house and soul with “Pansoul” (Motorbass), the collective house techno project “Superdiscount 1” & “Superdiscount 2” and “Tempovision”, all of which were released under his own name. Famous for the efficiency of his productions, Etienne de Crécy is is also a sought-after remixer and a passionate DJ, loved by the public and in high demand all over the world

After touring 3 years with Alex Gopher and Julien Delfaud with the live project « Super Discount 2 », Etienne de Crécy issued his first live solo concept : « Beats ‘N’ Cubes ».A genuine electronic live, played only with machines (no laptop music), both retrospective and  innovative, that sounds definitely 21rst century electro-techno. A stage concept whose stage and visual structure has been designed by a Parisian collective called Exyzt.

Since 2007, the experiment has been performed throughout the world and the biggest festivals, from Paris to Moscow, from Mexico to Turkey, through Coachella Festival in California or the Future Music Festival (5 venues in Australia).

In 1990, Etienne was twenty years old and worked in one of the biggest recording studio in Paris: the +XXX studio (= Plus Thirty). Among other things, he worked as sound engineer on MC Solaar song « Bouge de là » where he met Philippe Zdar. Quickly, chemistry worked between them: both fond of music and news sounds, they discovered techno and experienced the first Parisian rave parties, which led to their first project “Motorbass”.

After many maxis in 1992-1993 well received by DJs and critics, the duet released the album« Pansoul » in October 1995. A few months later Daft Punk « Homework » swept through the country. Both albums soon embodied the cornerstone of the emerging « French Touch », the electronic storm that made of Paris the focus of international music. Beautiful, hot and obsessive  « Pansoul » draws on funk music and brings a colourful touch to techno, while rubbing shoulders with 90’s electro soul. Critics were dithyrambic, especially in UK. This album, one of the better of its decade, became a must-have.

In 1996, Etienne de Crécy launched the project « Super Discount ». On this memorable euphoric and malicious house record, he composed most of the tracks – under many monikers (“Minos pour main basse”, “La Chatte Rouge”, “DJ Tall”, “Mooloodjee”, etc.) and invited many guests, as his friends from Air, Alex Gopher and Mr Learn. As Motorbass « Pansoul », this fresh and spontaneous album became the landmark of the French Touch and an essential and key album in the electro music world in France and abroad. It allowed also to establish the records label “Solid”, one of the first independent labels of electro in France, created by Etienne de Crécy, Alex Gopher and Pierre-Michel Levallois. Until 2004, Solid published over twenty EP’s signed by Etienne de Crécy, Alex Gopher, Cosmo Vitelli, Wuz or Thierry Stremler.

The album « Super Discount » is also the beginning of a collaboration between Etienne de Crécy and the graphic design agency “H5”. The simplicity of the cover artwork of « Super Discount » is also its universal strength. Etienne de Crécy, as producer, often tends to disappear behind a special universe, a concept, pictures and graphical designs, and let the music guide the listener.

If the following album, « Tempovision », in 2000, is released for the first time under his real name, Etienne de Crécy asserts once again the importance of images in his work: his brother Geoffroy de Crécy directed 3D animated videos to accompany the 3 singles from the album. The 3 video clips for « Am I Wrong », « Scratched » and « Tempovision » screened short stories featuring recurrent characters confronted by liberal world mercantile and mechanized absurdity, always with cruel drollery. Those animated videos with their characteristic universe have been recognized by the public and the professionals, wining the award for the best video clip for « Am I Wrong » at the French “Victoires de la Musique”.

Propped by the animated videos and their soft electronic futuristic world, « Tempovision » delivered a digital soul inspired by our everyday face to face with TV & computer screens. On this record, Etienne de Crécy, as electro music scout, oversteps the limits of pure house music and draws on the sources of dub music. It’s literally a delight and an invitation to a sound hypnosis thanks to the voices of American singers Belita Woods and Michael « Clip » Payne. Once again, the pixels-like artwork created by H5 has got a strong impact on the public. They recognized in Etienne de Crecy the pioneer and the spearhead of “La French Touch”. However, he keeps up with re-inventing this style, both endorsing it and getting away from it, exploring other musical lands.  That’s precisely his main talent as a producer: varying his style over and over and escaping ready-made formulas and repetitions.

If Etienne de Crécy re-launched « Super Discount » adventure in 2004, the second volume is very different from the first one issued 8 years before. The music had evolved towards something more techno, more in line with the period. If the concept of « Super Discount » is reused, it’s because this album entirely produced by himself, is a new collective work involving his friends Philippe Zdar and Boom Bass (from Cassius), DJ Mehdi, Alex Gopher, Julien Delfaud and Mr Learn. The freshness and spontaneity of the first volume are to be found there once again and a real the dance-floor energy is released in the clubs with tunes like « Grokster », « Overnet » or « Fast Track ». This last one became a hit with its remixed version called « Someone Like You » featuring the voice of the French singer Camille.

During 3 years, from 2004 to 2006, Etienne de Crécy had been on tour all over the globe with the live project « Super Discount 2 » along with Alex Gopher and Julien Delfaud. In all, the trio appeared on stage about a hundred times, everywhere in Europe, Australia and Brazil, in the best techno clubs and the biggest electro-rock festivals.

Famous for the efficiency of his productions Etienne de Crécy is also a sought-after remixer (he worked for Kraftwerk, Air, Morcheeba, Moby, DJ Mehdi, Mylo, etc.) and a passionate DJ, loved by the public and in high demand all over the world (New York, Tokyo, Moscow, London or even Douala clubs have experienced his mixes for more than ten years). During these worldwide trips, he grabbed new sounds of the moment and instilled them in his news productions: it gave the maxis « Commercial EP1 » and « Commercial EP2 », on his own and recent label Pixadelic, the maxi « Hanukkah » co-written with Monsieur Jo for Kitsuné label or the tracks « Ash Sync » co-produced with Air and Alex Gopher which goes with the book published on H5, the graphic design agency.

During summer 2007, Etienne de Crécy took part in to the huge live show on the “Bassin de Neptune” in the Palace of Versailles along with French bands and DJs : Alex Gopher, Phoenix and Air (a 6 tracks live EP was recorded there, digitally available in December 2007 under the name of « Live on Neptune »). In this gig, Etienne de Crécy drew the first lines of what would become his new live concept that he debuted at the Transmusicales de Rennes festival in December 2007

Named « Beats ‘N’ Cubes », this  genuine electronic live, is played only with machines (no laptop music. Both retrospective and  innovative, it develops a techno music that sounds definitely electro and crunchy, dirty, rough sounds full of distortions. It takes its entire dimension in the stage structure designed and conceived by the Parisian collective called Exyzt.

Alone in a giant cubic structure 6 meters wide and high, illuminated with original video projections, Etienne de Crécy takes the pulse of the new electronic generation with the passing shows he gives all around the globe. Since 2007, the « Beats ‘N’ Cubes » experiment has been performed more than 40 times in the biggest festivals, from Paris to Moscow, from Mexico to Turkey, through Coachella Festival in California or the Future Music Festival (5 venues in Australia). This live show becomes an experimental ground in which the producer can test new tunes directly on his audience making the most of live energy. A rare experiment