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‘ Absolutely Live ‘ is a music program on Paris based RGB Radio. Producer and main host is Luc Marianni, and occasional co-host / artist selection & Music curator is Nze whom constructed this ‘ Supercozi Special ‘ program. This 2 hour special SUPERCOZI show was aired on Nov 12th 2025, featuring interview by Nze (46:32-01:03:40), and her answers were translated into French and narration was done by artist Archipel.
SUPERCOZI Interview by NZE :
Q1 : Hello, Supercozi ! The second Summer of Love in 1996 (back in the days!) was a formative experience for many. You told me it was the same in Japan? And was it from there that you decided to devote yourself to electro ?
Yes, ‘ The Second Summer of Love ‘ was a transformative movement in Japan too. It has had a major impact on the underground cultural scene and lifestyle, from art, music, books, fashion, architecture and all sorts of artists such as ikebana ( Flower arrangement) to anime, and has inspired many young people to think, express and live outside of traditional Japanese rules and suffocative social pressures.
It was not about drugs or rock ‘n’ roll, but the birth of an alternative Japanese culture. It was the beginning of the so-called techno hippies and digital nomad culture. I think many of the Japanese people who are creatively active around the world today were influenced by that movement.
Music wise … I was already into techno, breakbeat and trip-hop such as Ninja Tune and drum’n’bass before that, so that movement didn’t spark my interest in electro.
But through outdoor festivals, I was shocked to discover intelligent downtempo electro. It’s very intelligent, has deep grooves with unexpected and spectacular developments, and sometimes not even a beat, yet poetically laid-back and enjoyable music.
I had already loved ambient music in particular through the work of Brian Eno since the mid-80s, but I was thrilled to discover a sound that took it even further.
I had read a lot of books on mysticism and Eastern philosophy before that, and I encountered a lot of very mystical and spiritual music that reminded me of them. Music that makes you think about the universe, the mysteries of life and various events while listening to it. I had never encountered such music before, so it was a revelation.
Q2 : Is it fair to say that you belong to the same scene as people like Alex Paterson (The Orb), System 7 and Mirror System (Steve Hillage and Miquette Giraudy), FSOL or Entheogenic, for example, who like to mix psytrance, ambient, and dub with downtempo rhythms infused with psychedelia?
Each of the artists you have given as examples has mastered an original world view, thus they are true pioneers for me.
Of course, many of them have influenced me and I have produced a lot of downtempo, as you have described it, fusing elements of dub and ambient, with hints of psychedelia sprinkled in.
I don’t think I’ve come close to their level yet, but I’m honoured if my music reminds you of them. Thank you very much.
Q3 : Steve Hillage and Miquette Giraudy, who participated in Gong in the 1970s, play on two of your albums. How did that come about ?
I met them in 2005 when I did a DJ show in Tokyo, brought by a mutual friend. They were also touring Japan as System 7 at the same time. Of course, I knew and respected Gong, the Steve Hillage Band and System 7 before that, so it was a big deal.
Back then, I was living in Bali at the time with my ex-husband, Australian producer Gus Till, and our two children. And Steve and Miquette had always loved Bali since long time ago and came there every year on holiday, so we started to hang out there. Gus also respected them both very much, so the four of us spent a lot of time together in our studio at our house in Seminyak. We played each other music recommendations and occasionally Steve played guitar sessions on songs we were working on.
We also spent many afternoons together as a family at the hotel or villa where they were staying ( Steve even did teach how to surf on body board to our young son ! ) and I drove them up by the jeep to Ubud and the deep mountains area. It’s a wonderful memory. We spent many such times together until I left Bali in 2018.
Our first collaboration, ‘ Chilldome Refugees’, was born out of that time. For the first chill-out compilation ‘ Chillpresso 1 – Dali Bali ‘ released in 2007 by Hypo Espresso Records, a label I founded in Bali, we sampled a gamelan loop from a System 7 track “ Sinom X Files ”, from System 7’s album “ Golden Section ”, and constructed a new song. When we played it to them, they liked it very much and Steve played guitar on it.
He also played beautiful guitar on another chill-out song called ‘ It Doesn’t Matter ‘, by me and Gus’s unit Zen Lemonade. Miquette also played synths on my solo track ‘ Trigger Happy Morons ‘.
Q4 : After participating in numerous compilation projects as a ,producer, writer and DJ, you’ve now released several albums under your own name. The latest, recorded in Nice, blends jazz and electro, and it’s a “coup de maitre”. Can you tell us about it ?
Thank you for your very kind words. I’m delighted. The work you mention, “Cinemadelica”, is a 2024 release and marks my first full album completed entirely by myself, from production right through to the final mix. To properly convey this sonic world, please allow me to briefly explain some background to my life.
From my childhood until I left Tokyo in 1999, I spent my formative years absorbing European culture, art, music and literature as my cultural foundation.My parents owned box sets of film scores and classical music records, and from around the age of twelve, I would listen them nearly everyday. As a child, I was utterly captivated by the magnificent film scores composed by numerous French and Italian composers such as Michel Legrand, Nino Rota, and Ennio Morricone. Without those beautiful BGM, I cannot recall my childhood memories.
From adolescence, I became deeply engrossed in French literature, and by the time entered university, I owned nearly all the translated books of Sagan and had read and admired authors such as Albert Camus and Boris Vian. Then whole through my 20’s to 40’s, I was also deeply captivated by French and Italian film directors like Robert Enrico, Godard, Jean Renoir, Joseph Losey, Fellini, and Visconti, frequenting arthouse cinemas and renting several films a week.
Furthermore, the Dadaism and Surrealism movements centred in Paris profoundly influenced me throughout my life. My mother was an art enthusiast and, from my childhood, she invariably took me to major exhibitions held in Tokyo. From there, I devoured books on Man Ray, Marcel Duchamp, Picasso, Matisse, and Van Gogh, Jean Cocteau etc. And the Côte d’Azur, which featured as a setting in many of these, held an image for me of a magical land that had inspired countless artists.
So, in 2016 summer, just before turning fifty, I visited Nice for the first time and was truly moved by the sun, the scenery, the wind, and the vibrant old town. I couldn’t believe the mysterious magic of life – After so many years, I was actually standing within the light that Matisse had loved. In that moment, I resolved that no matter how many years it took, I would distil the essence of southern France through my own filter, featuring local musicians, and elevate it into an experimental, cinematic album. After that, there were periods of COVID and my long personal depression, and it ended up taking eight years, but I’m satisfied to have achieved it at a quality I’m content with.
‘ Cinemadelica ‘ features four French musicians based in Nice (Highly respected Jazz pianist Joe Kaiat, Jazz guitarist Schnoer, Indian French singer Latchmy, Classical guitarist Nicolas Baechel), alongside Bulgarian jazz pianist Martin Denev, Ukrainian cellist Artem Litovchenko, two singers from the US and UK, and an American MC. The album, running 49 minutes, contains eight tracks blending cinematic ambient with psychedelic elements, trip-hop, acid jazz with odd beats, and downtempo incorporating classical elements.
Q5 : What is your creative process? Do you start with an idea, a sound, a rhythm, a melody ?
The process varies from track to track, so I’ll explain a little about the album “ Cinemadelica ”.
For the first track, “ Une Pale Green Dress ”, I wrote melody on a sketch-like piano parts that Nice based maestro Jazz Pianist Jo Kaiat improvised, then built up cinematic development. Then wrote lyrics with the languid summers of southern France in mind. After that, I asked a friend of mine, Indian French singer Latchmy to sang it. She has a very unique style that blends Indian vocal techniques with jazz – one might even call it tantric jazz – which lends a deep, sensual flavour to the song’s world. Jo’s Piano and Latchmy’s vocal invoked dramatic, dynamic atmosphere, so I constructed a bit of insane vibes towards to end, then gently finished off. It became the perfect opening track for the album.
For the second track, “ Vibrasphere ”, I first built a rhythm and bassline, imagining a scenes of a desert planet, like something from a sci-fi film ‘ Ovbilion’ . I then developed chord progressions from this foundation. Then I asked my Jazz Pianist friend Martin ( We collaborated few times in Bali before ) to recorded some parts in his home studio in Bulgaria. He sent me back few stems with 3 different type of Electric Pianos, so I developed more with these. When tune’s structure is 80% done, I hired Nice based jazz guitarist Schnoer for recording session. He did mind blowing improvisation in just few hours ( He played also for another track ‘ Cinemadelica ‘ too) , and they were like few last pieces of puzzle. After I selected best parts from his guitar and placed them to the perfect places, then tune was done. There are many musical elements, so I paid a great attention to leave ample space throughout, ensuring the overall zen-like ambient atmosphere remained intact.
The third track, “ Cap Ferrat ”, was constructed around my own piano playing, inspired by the jazz albums of the 60s and 70s by my revered artists Herbie Hancock and Quincy Jones. I then spent considerable time experimenting and refining, adding elements such as a string orchestra created with synths and melody sections featuring my own voice layered with complex delays. Incorporating guitar work by my friend Nico added a cinematic depth to the song’s world, making the arrangement process even more enjoyable. After that, I spent further time developing the track by adding samples and strings etc. Particularly for the final chorus, I experimented extensively with applying quite complex various rhythmic delays. If you listen carefully, you would be able to hear that each voice has its echo applied at a different timing. I take pride in believing that this technique allowed me to capture the dry, airy feel characteristic of southern France and the dazzlingly expansive scenery of Cap Ferrat.
The fourth track, “ Cinemadelica ”, was created after the other songs on the album were finished, when I felt album needed a cinematic, playful piece that could serve as the album’s title track. I wanted to inject a 1920s-40s Parisian cabaret atmosphere into the album, so I built an unexpectedly evolving structure around the bassline. When the track was about 80% done, Schnoar came into the studio and played guitar. It was like alchemy – he added such depth to the song, it was thrilling. That gave me the hint for how to end the track. The opening circus-like intro was actually added at the very end.
The fifth track, “ Road to Portofino ”, began with the idea of creating an acid jazz-style piece that felt chic and fast-paced, like driving along an Italian coastal road, yet also featured psychedelic developments. To achieve this, I first built the rhythm around irregular time signatures reminiscent of Ethiopian jazz maestro Mulatu Astatke, layering in a hypnotic bassline that intertwines rhythmically and polyrhythmically, then overlaid it with chord progressions reminiscent of 60s and 70s jazz.
Then I invited Jo Kaiat, maestro Jazz pianist, which I was dreaming to collaborate for years … I’d admired Joe ever since seeing him perform years ago at Shapko, a renowned jazz club in my town Nice. I finally got his contact details through a friend and invited him to the studio. Joe hadn’t collaborated much with electronic music producers before, and said, “ I’m not sure if I want to play yet, but let me hear the track anyway.” So I played him a rough idea of the track on Logic (the music production software I use), and he said, ‘ Huh, that’s not bad. It’s cool! ‘ Then, without any rehearsal, he suddenly started playing an incredible solo on my synth. I thought, ‘ Oh my god, I can’t let this slip away, I have to record this right away! ‘ .. So I immediately hit record button and captured it. After that, Jo even let me record his hand claps and vocals.This session was lasting a only few hours, but witnessing the magic created by a musician of such overwhelming skill was an unforgettable, amazing experience !
His piano was all recorded in a single take over several sessions ( what incredible talent! I was utterly astonished ! ), so I refined the arrangements while striving to preserve that sense of speed and momentum, that overwhelming live feel. I also thought this piece had a rather James Bond-esque feel to it, so once the composition was nearly finished, I requested that the cellist, Artem, to play a solo that captured that vibe. He recorded the perfect part in Ukraine and sent it over, and that completed the piece.
Tracks six, “ Sunny Place For Shady People ”, and eight, “ See You On The Other Side ”, are two songs developed from sketches I played myself on the piano.
The track that surprised me most while creating it was the seventh, “ Semoleksy Ascending ”. This was originally developed from a section of a drone ambient remix created by Mike (Misled Convoy) of the renowned New Zealand dub unit PitchBlack. His remix was based on my 2011 track “Do You Know Where You’re Going”. As I added layers – synth-generated Gregorian chant-like choruses, dark and thick medieval feeling chords, strings, sound effects, and more – an unexpectedly profound, cinematic worldview emerged, like a scene from a film, and I was thrilled.
Q6 : Who are your current and future favorite artists?
This is very difficult question to answer as I always listen to so many artist’s music daily, across so many genres. Not only electronic music, but also Jazz, Modern Classical, Latin, Folk rock from 60-80’s, and of course Film Sound tracks. I recommend you to dig my personal 2 playlists I created on Spotify – ‘ Sun-Bience ‘ and ‘ Cinematic Jazz ‘ to explore my personal musical exploration. Especially ‘ Sun-Bience ‘ is a playlist I re-created exact my i-tunes playlist I was listening in Bali every morning for 15 years to start my day with a first coffee in the morning .. Even track orders !! I still do listen to them often and keep adding music with similar vibes that I discovers. I think you can feel my diverse taste there.
I also intersperse my own tracks within these two playlists. This allows me to gauge how they sound when placed before or after works by other producers I admire, which proves extremely instructive. It’s rather like a laboratory for a scientist.
I want to produce an album that is an extension of the sound world of my 2024 album ‘ Cinemadélica ‘, but that takes it further.
First, at least 4-5 memorable melodies ( I am not a great singer myself, so I’ll feature few of my favourite singers, male and female both, to sing them ).
And to express the image of the melody and lyrics to the fullest, I would like to feature again the musicians from Nice who took part in ‘ Cinemadelica ‘. Jazz piano, Jazz and Classical guitar, etc. Also Cello musician too. I would also very much like to record some Jazz woodbasses. I wish to fuse these with ambient and other slow electronic music I adore, and elevate them once more into cinematic chill-out music that evokes the atmosphere of southern France I hold so dear. That is the project I am currently nurturing.
I’ve already written a few very good melodies and lyrics and have started basic production on the Mac. But it will probably take at least a few years to complete album on the satisfactory level. I usually take a long time to produce an album.
Q8 : You’re also a painter ? as we can see on your website, where it’s possible to purchase your works.
I hesitate to call myself a painter. Though I’ve been creating collages, watercolours, and sketches since my youth, it’s only this year that I began seriously painting with acrylics on canvas. It remains an amateur pursuit, and I harbour no ambition to become a renowned artist. Yet I find acrylic painting profoundly engaging as a means to complement my worldview – something music alone cannot fully express. My motivation stems from a desire to express, through a surrealist interpretation that I’ve admired since childhood, the landscapes of the Côte d’Azur, sudden daydreams, and my own imaginary images. I was delighted when French friends who saw my work praised it for having a naïve, Rousseau-like atmosphere – an artist I also greatly admire.
However, I don’t wish to feel the kind of commercial pressure I’ve experienced in music over the decades, so I intend to continue purely as a hobby. Some of my acrylic paintings on paper are available for purchase in the merchandise section of my Bandcamp page : https://supercozi.bandcamp.com/merch
They’re all rather like early sketches by a painter who only started this year, but I thought someone might want them. They are all unique pieces; no reproductions have been made. The ten or so finished acrylic paintings on canvas are all displayed in my home studio, and I’m very fond of them, so I have no intention of selling them at present. However, if the number increases in the future, I might sell a few.
For the same reason, I also produce music videos based on footage shot on my iPhone. The ones currently on YouTube, such as “Cap Ferrat” and “Soleil Bohemia”, are something of an homage to European film directors like Godard, whom I’ve greatly admired since my youth.
Supercozi, Thank you !
Éric « Nze » Delaunay Born in Paris, Éric « Nze » Delaunay is an artist and music collector and critic. He participated in international exhibitions around the world inc. Contemporary Art Expo in Tokyo, London, Paris L Galerie, Palazzo Albrizzi-Capello in Venice, Ziguinchor, Senegal. Eric also serves as an occasional co-host on the music programme ‘ Absolutely Live’, produced by Luc Mariani on the Paris-based radio station RGB. In this role, Eric carefully selects artists and is responsible for special features that include his own introductions and interviews.
BGM : 01:50-03:32 / Vibrasphere – Album ‘ Cinemadelica ‘ 05:54-09:58 / Vibrasphere – Album ‘ Cinemadelica ‘ 18:54-22:58 / Tokyo Night – Album ‘ Bass Odyssey ‘ 29:58-33:36 / Jungle Love – Album ‘ Bass Odyssey ‘ 42:15-46:28 / Vibrasphere – Album ‘ Cinemadelica ‘ 46:31- 48:43 / See You On The Other Side – Album ‘ Cinemadelica ‘ 48:47-50:20 / Cinemadelica – Album ‘ Cinemadelica ‘ 50:24-51:17 / It Doesn’t Matter / Zen Lemonade Album ‘ Babylondon ‘ 51:19-54:29 / Vibrasphere – Album ‘ Cinemadelica ‘ 54:30-55:33 / Une Pale Green Dress – Album ‘ Cinemadelica ‘ 55:35-56:42 / Vibrasphere – Album ‘ Cinemadelica ‘ 56:45-57:20 / Cap Ferrat – Album ‘ Cinemadelica ‘ 57:21-58:04 / Cinemadelica – Album ‘ Cinemadelica ‘ 58:08-01:00:35 / Road to Portofino / Cinemadelica – Album ‘ Cinemadelica ‘ 01:00:50-01:01:33 / Semoleksy Ascending – Album ‘ Cinemadelica ‘ 01:01:35-01:03:38 / Sunny Place For Shady People – Album ‘ Cinemadelica ‘ 01:12:46-01:15:56 / Wild Hunt – Album ‘ Bass Odyssey ‘ 01:22:30-01:26:03 / Vent Nera – EP ‘ Vent Nera ‘ Bandcamp Link / Read about EP ‘ Vent Nera ‘ 01:32-55-01:34:09 / Tuscany – Album ‘ Voyage ‘ 01:41:58-01:43:54 / Secret Garden – Album ‘ Voyage ‘ 01:50:54-01:52:32 / See You On The Other Side – Album ‘ Cinemadelica ‘
RGB Paris Radio Show & Interview (EN/FR/JP) / 2025 Nov 26th
Lire en français / 日本語で読む
‘ Absolutely Live ‘ is a music program on Paris based RGB Radio. Producer and main host is Luc Marianni, and occasional co-host / artist selection & Music curator is Nze whom constructed this ‘ Supercozi Special ‘ program.
This 2 hour special SUPERCOZI show was aired on Nov 12th 2025, featuring interview by Nze (46:32-01:03:40), and her answers were translated into French and narration was done by artist Archipel.
SUPERCOZI Interview by NZE :
Q1 : Hello, Supercozi ! The second Summer of Love in 1996 (back in the days!) was a formative experience for many. You told me it was the same in Japan? And was it from there that you decided to devote yourself to electro ?
Yes, ‘ The Second Summer of Love ‘ was a transformative movement in Japan too.
It has had a major impact on the underground cultural scene and lifestyle, from art, music, books, fashion, architecture and all sorts of artists such as ikebana ( Flower arrangement) to anime, and has inspired many young people to think, express and live outside of traditional Japanese rules and suffocative social pressures.
It was not about drugs or rock ‘n’ roll, but the birth of an alternative Japanese culture. It was the beginning of the so-called techno hippies and digital nomad culture. I think many of the Japanese people who are creatively active around the world today were influenced by that movement.
Music wise … I was already into techno, breakbeat and trip-hop such as Ninja Tune and drum’n’bass before that, so that movement didn’t spark my interest in electro.
But through outdoor festivals, I was shocked to discover intelligent downtempo electro. It’s very intelligent, has deep grooves with unexpected and spectacular developments, and sometimes not even a beat, yet poetically laid-back and enjoyable music.
I had already loved ambient music in particular through the work of Brian Eno since the mid-80s, but I was thrilled to discover a sound that took it even further.
I had read a lot of books on mysticism and Eastern philosophy before that, and I encountered a lot of very mystical and spiritual music that reminded me of them. Music that makes you think about the universe, the mysteries of life and various events while listening to it.
I had never encountered such music before, so it was a revelation.
Q2 : Is it fair to say that you belong to the same scene as people like Alex Paterson (The Orb), System 7 and Mirror System (Steve Hillage and Miquette Giraudy), FSOL or Entheogenic, for example, who like to mix psytrance, ambient, and dub with downtempo rhythms infused with psychedelia?
Each of the artists you have given as examples has mastered an original world view, thus they are true pioneers for me.
Of course, many of them have influenced me and I have produced a lot of downtempo, as you have described it, fusing elements of dub and ambient, with hints of psychedelia sprinkled in.
I don’t think I’ve come close to their level yet, but I’m honoured if my music reminds you of them. Thank you very much.
Q3 : Steve Hillage and Miquette Giraudy, who participated in Gong in the 1970s, play on two of your albums. How did that come about ?
I met them in 2005 when I did a DJ show in Tokyo, brought by a mutual friend. They were also touring Japan as System 7 at the same time. Of course, I knew and respected Gong, the Steve Hillage Band and System 7 before that, so it was a big deal.
Back then, I was living in Bali at the time with my ex-husband, Australian producer Gus Till, and our two children. And Steve and Miquette had always loved Bali since long time ago and came there every year on holiday, so we started to hang out there. Gus also respected them both very much, so the four of us spent a lot of time together in our studio at our house in Seminyak. We played each other music recommendations and occasionally Steve played guitar sessions on songs we were working on.
We also spent many afternoons together as a family at the hotel or villa where they were staying ( Steve even did teach how to surf on body board to our young son ! ) and I drove them up by the jeep to Ubud and the deep mountains area. It’s a wonderful memory. We spent many such times together until I left Bali in 2018.
Our first collaboration, ‘ Chilldome Refugees’, was born out of that time.
For the first chill-out compilation ‘ Chillpresso 1 – Dali Bali ‘ released in 2007 by Hypo Espresso Records, a label I founded in Bali, we sampled a gamelan loop from a System 7 track “ Sinom X Files ”, from System 7’s album “ Golden Section ”, and constructed a new song. When we played it to them, they liked it very much and Steve played guitar on it.
He also played beautiful guitar on another chill-out song called ‘ It Doesn’t Matter ‘, by me and Gus’s unit Zen Lemonade. Miquette also played synths on my solo track ‘ Trigger Happy Morons ‘.
Q4 : After participating in numerous compilation projects as a ,producer, writer and DJ, you’ve now released several albums under your own name. The latest, recorded in Nice, blends jazz and electro, and it’s a “coup de maitre”. Can you tell us about it ?
Thank you for your very kind words. I’m delighted.
The work you mention, “Cinemadelica”, is a 2024 release and marks my first full album completed entirely by myself, from production right through to the final mix. To properly convey this sonic world, please allow me to briefly explain some background to my life.
From my childhood until I left Tokyo in 1999, I spent my formative years absorbing European culture, art, music and literature as my cultural foundation.My parents owned box sets of film scores and classical music records, and from around the age of twelve, I would listen them nearly everyday. As a child, I was utterly captivated by the magnificent film scores composed by numerous French and Italian composers such as Michel Legrand, Nino Rota, and Ennio Morricone. Without those beautiful BGM, I cannot recall my childhood memories.
From adolescence, I became deeply engrossed in French literature, and by the time entered university, I owned nearly all the translated books of Sagan and had read and admired authors such as Albert Camus and Boris Vian.
Then whole through my 20’s to 40’s, I was also deeply captivated by French and Italian film directors like Robert Enrico, Godard, Jean Renoir, Joseph Losey, Fellini, and Visconti, frequenting arthouse cinemas and renting several films a week.
Furthermore, the Dadaism and Surrealism movements centred in Paris profoundly influenced me throughout my life. My mother was an art enthusiast and, from my childhood, she invariably took me to major exhibitions held in Tokyo. From there, I devoured books on Man Ray, Marcel Duchamp, Picasso, Matisse, and Van Gogh, Jean Cocteau etc. And the Côte d’Azur, which featured as a setting in many of these, held an image for me of a magical land that had inspired countless artists.
So, in 2016 summer, just before turning fifty, I visited Nice for the first time and was truly moved by the sun, the scenery, the wind, and the vibrant old town. I couldn’t believe the mysterious magic of life – After so many years, I was actually standing within the light that Matisse had loved. In that moment, I resolved that no matter how many years it took, I would distil the essence of southern France through my own filter, featuring local musicians, and elevate it into an experimental, cinematic album. After that, there were periods of COVID and my long personal depression, and it ended up taking eight years, but I’m satisfied to have achieved it at a quality I’m content with.
‘ Cinemadelica ‘ features four French musicians based in Nice (Highly respected Jazz pianist Joe Kaiat, Jazz guitarist Schnoer, Indian French singer Latchmy, Classical guitarist Nicolas Baechel), alongside Bulgarian jazz pianist Martin Denev, Ukrainian cellist Artem Litovchenko, two singers from the US and UK, and an American MC. The album, running 49 minutes, contains eight tracks blending cinematic ambient with psychedelic elements, trip-hop, acid jazz with odd beats, and downtempo incorporating classical elements.
Q5 : What is your creative process? Do you start with an idea, a sound, a rhythm, a melody ?
The process varies from track to track, so I’ll explain a little about the album “ Cinemadelica ”.
For the first track, “ Une Pale Green Dress ”, I wrote melody on a sketch-like piano parts that Nice based maestro Jazz Pianist Jo Kaiat improvised, then built up cinematic development. Then wrote lyrics with the languid summers of southern France in mind. After that, I asked a friend of mine, Indian French singer Latchmy to sang it.
She has a very unique style that blends Indian vocal techniques with jazz – one might even call it tantric jazz – which lends a deep, sensual flavour to the song’s world.
Jo’s Piano and Latchmy’s vocal invoked dramatic, dynamic atmosphere, so I constructed a bit of insane vibes towards to end, then gently finished off.
It became the perfect opening track for the album.
For the second track, “ Vibrasphere ”, I first built a rhythm and bassline, imagining a scenes of a desert planet, like something from a sci-fi film ‘ Ovbilion’ . I then developed chord progressions from this foundation. Then I asked my Jazz Pianist friend Martin ( We collaborated few times in Bali before ) to recorded some parts in his home studio in Bulgaria. He sent me back few stems with 3 different type of Electric Pianos, so I developed more with these. When tune’s structure is 80% done, I hired Nice based jazz guitarist Schnoer for recording session. He did mind blowing improvisation in just few hours ( He played also for another track ‘ Cinemadelica ‘ too) , and they were like few last pieces of puzzle. After I selected best parts from his guitar and placed them to the perfect places, then tune was done.
There are many musical elements, so I paid a great attention to leave ample space throughout, ensuring the overall zen-like ambient atmosphere remained intact.
The third track, “ Cap Ferrat ”, was constructed around my own piano playing, inspired by the jazz albums of the 60s and 70s by my revered artists Herbie Hancock and Quincy Jones. I then spent considerable time experimenting and refining, adding elements such as a string orchestra created with synths and melody sections featuring my own voice layered with complex delays. Incorporating guitar work by my friend Nico added a cinematic depth to the song’s world, making the arrangement process even more enjoyable.
After that, I spent further time developing the track by adding samples and strings etc. Particularly for the final chorus, I experimented extensively with applying quite complex various rhythmic delays. If you listen carefully, you would be able to hear that each voice has its echo applied at a different timing. I take pride in believing that this technique allowed me to capture the dry, airy feel characteristic of southern France and the dazzlingly expansive scenery of Cap Ferrat.
The fourth track, “ Cinemadelica ”, was created after the other songs on the album were finished, when I felt album needed a cinematic, playful piece that could serve as the album’s title track. I wanted to inject a 1920s-40s Parisian cabaret atmosphere into the album, so I built an unexpectedly evolving structure around the bassline. When the track was about 80% done, Schnoar came into the studio and played guitar. It was like alchemy – he added such depth to the song, it was thrilling. That gave me the hint for how to end the track. The opening circus-like intro was actually added at the very end.
The fifth track, “ Road to Portofino ”, began with the idea of creating an acid jazz-style piece that felt chic and fast-paced, like driving along an Italian coastal road, yet also featured psychedelic developments.
To achieve this, I first built the rhythm around irregular time signatures reminiscent of Ethiopian jazz maestro Mulatu Astatke, layering in a hypnotic bassline that intertwines rhythmically and polyrhythmically, then overlaid it with chord progressions reminiscent of 60s and 70s jazz.
Then I invited Jo Kaiat, maestro Jazz pianist, which I was dreaming to collaborate for years … I’d admired Joe ever since seeing him perform years ago at Shapko, a renowned jazz club in my town Nice.
I finally got his contact details through a friend and invited him to the studio. Joe hadn’t collaborated much with electronic music producers before, and said, “ I’m not sure if I want to play yet, but let me hear the track anyway.” So I played him a rough idea of the track on Logic (the music production software I use), and he said, ‘ Huh, that’s not bad. It’s cool! ‘ Then, without any rehearsal, he suddenly started playing an incredible solo on my synth. I thought, ‘ Oh my god, I can’t let this slip away, I have to record this right away! ‘ .. So I immediately hit record button and captured it. After that, Jo even let me record his hand claps and vocals.This session was lasting a only few hours, but witnessing the magic created by a musician of such overwhelming skill was an unforgettable, amazing experience !
His piano was all recorded in a single take over several sessions ( what incredible talent! I was utterly astonished ! ), so I refined the arrangements while striving to preserve that sense of speed and momentum, that overwhelming live feel.
I also thought this piece had a rather James Bond-esque feel to it, so once the composition was nearly finished, I requested that the cellist, Artem, to play a solo that captured that vibe. He recorded the perfect part in Ukraine and sent it over, and that completed the piece.
Tracks six, “ Sunny Place For Shady People ”, and eight, “ See You On The Other Side ”, are two songs developed from sketches I played myself on the piano.
The track that surprised me most while creating it was the seventh, “ Semoleksy Ascending ”. This was originally developed from a section of a drone ambient remix created by Mike (Misled Convoy) of the renowned New Zealand dub unit PitchBlack. His remix was based on my 2011 track “Do You Know Where You’re Going”.
As I added layers – synth-generated Gregorian chant-like choruses, dark and thick medieval feeling chords, strings, sound effects, and more – an unexpectedly profound, cinematic worldview emerged, like a scene from a film, and I was thrilled.
Q6 : Who are your current and future favorite artists?
This is very difficult question to answer as I always listen to so many artist’s music daily, across so many genres. Not only electronic music, but also Jazz, Modern Classical, Latin, Folk rock from 60-80’s, and of course Film Sound tracks. I recommend you to dig my personal 2 playlists I created on Spotify – ‘ Sun-Bience ‘ and ‘ Cinematic Jazz ‘ to explore my personal musical exploration.
Especially ‘ Sun-Bience ‘ is a playlist I re-created exact my i-tunes playlist I was listening in Bali every morning for 15 years to start my day with a first coffee in the morning .. Even track orders !! I still do listen to them often and keep adding music with similar vibes that I discovers. I think you can feel my diverse taste there.
I also intersperse my own tracks within these two playlists. This allows me to gauge how they sound when placed before or after works by other producers I admire, which proves extremely instructive. It’s rather like a laboratory for a scientist.
Sun-Bience :
https://open.spotify.com/playlist/6XdjCPdZCU2U0yZ3hatnTu
Cinematic Jazz :
https://open.spotify.com/playlist/2hv8j2cQuYUt9kCfWA93An
Q7 : Your next project ?
I want to produce an album that is an extension of the sound world of my 2024 album ‘ Cinemadélica ‘, but that takes it further.
First, at least 4-5 memorable melodies ( I am not a great singer myself, so I’ll feature few of my favourite singers, male and female both, to sing them ).
And to express the image of the melody and lyrics to the fullest, I would like to feature again the musicians from Nice who took part in ‘ Cinemadelica ‘. Jazz piano, Jazz and Classical guitar, etc. Also Cello musician too. I would also very much like to record some Jazz woodbasses. I wish to fuse these with ambient and other slow electronic music I adore, and elevate them once more into cinematic chill-out music that evokes the atmosphere of southern France I hold so dear. That is the project I am currently nurturing.
I’ve already written a few very good melodies and lyrics and have started basic production on the Mac. But it will probably take at least a few years to complete album on the satisfactory level. I usually take a long time to produce an album.
Q8 : You’re also a painter ? as we can see on your website, where it’s possible to purchase your works.
I hesitate to call myself a painter. Though I’ve been creating collages, watercolours, and sketches since my youth, it’s only this year that I began seriously painting with acrylics on canvas. It remains an amateur pursuit, and I harbour no ambition to become a renowned artist. Yet I find acrylic painting profoundly engaging as a means to complement my worldview – something music alone cannot fully express. My motivation stems from a desire to express, through a surrealist interpretation that I’ve admired since childhood, the landscapes of the Côte d’Azur, sudden daydreams, and my own imaginary images. I was delighted when French friends who saw my work praised it for having a naïve, Rousseau-like atmosphere – an artist I also greatly admire.
However, I don’t wish to feel the kind of commercial pressure I’ve experienced in music over the decades, so I intend to continue purely as a hobby. Some of my acrylic paintings on paper are available for purchase in the merchandise section of my Bandcamp page :
https://supercozi.bandcamp.com/merch
They’re all rather like early sketches by a painter who only started this year, but I thought someone might want them.
They are all unique pieces; no reproductions have been made. The ten or so finished acrylic paintings on canvas are all displayed in my home studio, and I’m very fond of them, so I have no intention of selling them at present. However, if the number increases in the future, I might sell a few.
For the same reason, I also produce music videos based on footage shot on my iPhone. The ones currently on YouTube, such as “Cap Ferrat” and “Soleil Bohemia”, are something of an homage to European film directors like Godard, whom I’ve greatly admired since my youth.
Supercozi, Thank you !
Éric « Nze » Delaunay
Born in Paris, Éric « Nze » Delaunay is an artist and music collector and critic. He participated in international exhibitions around the world inc. Contemporary Art Expo in Tokyo, London, Paris L Galerie, Palazzo Albrizzi-Capello in Venice, Ziguinchor, Senegal. Eric also serves as an occasional co-host on the music programme ‘ Absolutely Live’, produced by Luc Mariani on the Paris-based radio station RGB. In this role, Eric carefully selects artists and is responsible for special features that include his own introductions and interviews.
Track List :
Main :
03:41-05:47 / Gate 33
10:06-18:43 / D.I.V.E feat. AndreasOne (Dome Edit) – Album ‘ Bass Odyssey ‘
Smart Link / Read about album ‘ Bass Odyssey ‘
23:08-29:56 / Chill Dome Refugees (Dome Edit)
33:45-41:59 / Mountain Nonmo – EP ‘ Soleil Bohemia ‘
Bandcamp Link / Read about EP ‘ Soleil Bohemia ‘
01:33:52-01:12:44 / Cap Ferrat – Album ‘ Cinemadelica ‘
Smart Link / Read about album ‘ Cinemadelica ‘
01:16:03-01:22:27 / Semoleksy Ascending – Album ‘ Cinemadelica ‘
01:26:06-01:32:53 / Une Pale Green Dress feat.Latchmy – Album ‘ Cinemadelica ‘
01:34:13-01:41:42 / Feels Like Yesterday feat.Sophie Baker – Album ‘ Bioshifter ‘
Bandcamp Link / Read about album ‘ Bioshifter ‘
01:44:01-01:50:44 / Sayan Moon feat.Chika Asamoto – Album ‘ Voyage ‘
Bandcamp Link / Read about album ‘ Voyage ‘
BGM :
01:50-03:32 / Vibrasphere – Album ‘ Cinemadelica ‘
05:54-09:58 / Vibrasphere – Album ‘ Cinemadelica ‘
18:54-22:58 / Tokyo Night – Album ‘ Bass Odyssey ‘
29:58-33:36 / Jungle Love – Album ‘ Bass Odyssey ‘
42:15-46:28 / Vibrasphere – Album ‘ Cinemadelica ‘
46:31- 48:43 / See You On The Other Side – Album ‘ Cinemadelica ‘
48:47-50:20 / Cinemadelica – Album ‘ Cinemadelica ‘
50:24-51:17 / It Doesn’t Matter / Zen Lemonade Album ‘ Babylondon ‘
51:19-54:29 / Vibrasphere – Album ‘ Cinemadelica ‘
54:30-55:33 / Une Pale Green Dress – Album ‘ Cinemadelica ‘
55:35-56:42 / Vibrasphere – Album ‘ Cinemadelica ‘
56:45-57:20 / Cap Ferrat – Album ‘ Cinemadelica ‘
57:21-58:04 / Cinemadelica – Album ‘ Cinemadelica ‘
58:08-01:00:35 / Road to Portofino / Cinemadelica – Album ‘ Cinemadelica ‘
01:00:50-01:01:33 / Semoleksy Ascending – Album ‘ Cinemadelica ‘
01:01:35-01:03:38 / Sunny Place For Shady People – Album ‘ Cinemadelica ‘
01:12:46-01:15:56 / Wild Hunt – Album ‘ Bass Odyssey ‘
01:22:30-01:26:03 / Vent Nera – EP ‘ Vent Nera ‘
Bandcamp Link / Read about EP ‘ Vent Nera ‘
01:32-55-01:34:09 / Tuscany – Album ‘ Voyage ‘
01:41:58-01:43:54 / Secret Garden – Album ‘ Voyage ‘
01:50:54-01:52:32 / See You On The Other Side – Album ‘ Cinemadelica ‘
#radioshow