Le Bain: Your label Discotexas has been associated with the Nu-disco or 'Tropical House' scene. Do you feel comfortable with that?
Discotexas has a strong connection with Nu-disco, that's obvious. We grew up with it, we might have contributed to its development, but I think we're much more than that. We’ve released Disco, House, Techno, Funk…especially in our latest releases. My recent album 1975 stays away from most Nu-disco clichés and explores a lot of new possibilities. My partner Moullinex's new album is pure Tropicália rock with disco roots. We’re about to release Da Chick’s debut album, which has this Soul-funk vibe and even some Hip Hop, and then Jonjo Jury has his dark Electro sound … I think Nu-disco got too formulaic, and consequently, and sadly, it ended up becoming super generic. Todd Terje’s album is, I would say, the definitive nu-disco landmark.
Xinobi Mom and Dad (Discotexas)
You started out playing Punk rock. Could you tell us about what you learned from Punk, on top of the DIY attitude?
A lot of the fundamentals of my life came from my Punk rock experience. Bands like Bad Religion, Minor Threat, Dead Kennedys, Crass, taught me more than most of the teachers I had classes with. Aside from building in me a crucial social conscience, it also showed me uncommon ethics, unusual perspectives on love, that being absent of drugs is healthy, but that drugs can also be a fuel for creativity. It took me to obscure literature – beatnicks, situationists, lettristes, dadaists, anarchists ... It taught me how to deal with authority. Most importantly it forced me to share my life with a lot of people, and how to personally and collectively create and share. 'Do It Yourself' but don’t do it for yourself. Punk rock also taught me how to question punk itself by doing, for example, a disco track. Discotexas is pretty much punk rock in the sense of being passionate about what you do, and on doing it to fulfill your life and dreams.
Xinobi (I Hate The Sound Of) Guitars
You said some books changed your life, including Guy Debord’s Society of the Spectacle. "All that once was directly lived has become mere representation," says Debord. Do you agree with that?
Representation has become what was directly lived, for sure. I don’t know if Debord ever dreamed of something like an iPhone and its power over people’s relations. His whole concept of Spectacle has reached its pinnacle with all these virtual-social platforms and the excess of “simultaneity.” You’re up to attend an event, you share your expectation about it based on an Instagram that was shot by a friend at that event before you even arrive there... However, I don’t think this is catastrophic at all and I think Situationists would be really creative with the technology of today!
In what way did you incorporate Situationism in your life and work as an artist?
My tracks "They All Feel The Same" and "Real Fake" are, somehow, 'slogan' songs with a Situationist edge. Both are single phrased tunes. The first one is all about the absence of true variety and the second pretty much summarizes the dichotomy “Directly Lived” vs “Mere Representation”.
Xinobi Real Fake
You released your first album 1975 a few month ago. What track would you recommend as the best introduction to your music soundscape?
1975 is a complicated album to summarize in one track, so I would suggest two. First, "Real Fake" - that represents the more Pop-ish side of it. It’s a sunny track, melancholic but happy, and it lasts 4 minutes. Second, "Bogotá" – that I think is the most representative of the contemplative and darker moments. It lasts 8 trippy minutes.
As of today, which remix of yours are you the most proud of?
First, Moullinex Darkest Night. I never thought I could successfully remix that track, as it's so perfect. Also, John Grant Pale Green Ghosts. Working with such an incredible voice singing about really deep issues and building a song you can dance to - it’s not an easy job.
Nicolas Jaar And I say (Xinobi Edit)
Tell us about the dance music scene in Lisbon. Besides the club Lux and John Talabot and Discotexas, what are we missing?
The dance scene in Lisbon is healthy! There’s so much good music around. You have labels like Principe Discos, Bloop, Groovement, Enchufada releasing great records. But Lisbon – well, Portugal actually - has been producing really high-quality output over the past few years. We’re at a time when quantity is matching quality, which makes everything super exciting. I can drop an absurd amount of artists to check in any genre: Mirror People, Sequin, Savanna, Buraka Som Sistema, Jiboia, Cut Slack, Da Chick, Valete, Sensible Soccers, Filho da Mãe, Linda Martini, Legendary Tigerman, Magazino, Duquesa, Capicua, Paus, Riding Panico, DJ Marfox, Black Bombain, Dead Combo, Equations… ufff.
