I proudly welcome David Lagon on to HCBXCast for number 80 — A man who will need very little introduction, a long-standing force in the French hardcore underground whose roots stretch back to the early days of the scene. Recently returning to production with a brand new track on Epiteth, and some high profile gigs, his HCBXCast mix is a hard-hitting industrial hardcore session — relentless from start to finish.
I catch up with David to talk about his origins in the scene, his production process, working with some legends and much more.
HCBX: Alright David — how the hell are you? Thanks for taking the time and for the brilliant mix for HCBXCast. First up, how and when did you first get into hardcore techno music? Was it a specific moment or early influence that sparked your interest?
DL: Hi Andrew, I'm good, thank you. I started listening to underground music quite early. I began with punk music in the 80s when I was a teenager. I already liked those alternative rhythms and that ideology of resistance. Later, also passionate about computers, I heard artists like Aphex Twin and Front 242, among others, who were starting to play a new musical style by adding electronic elements. Aphex Twin gave me the impression of using his instruments to the very limits of their capabilities, and he managed to produce sounds never heard before. I found this world fascinating! I really had that epiphany when I saw Liza 'n' Eliaz perform at the "Transerruption" party in a castle in Grenoble in 1992.
HCBX: You began as a pianist before moving into electronic music and the hardcore world — how did that transition happen, and did your early training shape how you approach production now?
DL: Being a pianist isn't necessarily the right fit. I don't have the knowledge, let alone the talent, of a real pianist. I only learned piano for a few years, and indeed, that knowledge allowed me to feel more comfortable with composition. More specifically, in the creation of certain melodies or rhythms.
HCBX: You come from Dijon and were involved with radio and local parties from a young age. What was the hardcore scene like in France when you first got involved, and how did it influence your direction?
DL: I was lucky enough (as an aside - thanks to my mother) to find an internship at a Dijon radio station when I was young (around 15 or 16). This internship led to a job there for several years. As a result, it allowed me access to a huge variety of different music. I also had access to a whole professional studio with the famous Technics SL1200 MK2. I had the keys to the radio station's professional studios, and I could use them whenever I wanted back then. I used to go there regularly to practice mixing, and some nights I'd go with my friend Christ Of Noise (RIP) to create samples with our Amigas.
HCBX: Was there an event or DJ set that really changed the way you thought about hardcore, like a “this is what I want to do" moment?
DL: Yes! When I had the opportunity to interview Liza 'n' Eliaz for the radio for the first time at the Transerruption rave party in Grenoble, France.
HCBX: Can you walk us through your early setup? You've said you used the Amiga - what other gear or tools were you using when you first started producing and DJing? How has that evolved over the years?
DL: At the very beginning, I used an Atari with Pro24 software (I think? It's been a while, so I don't remember exactly. I'm sure there was "24" in the name, but that's all!). At that time, Christophe (Christ Of Noise) was already using an Amiga with a tracker. When I saw the possibilities that the Amiga offered with trackers, I immediately switched to that platform. At that time, I was using OctamedPro software (I'm sure of the name here) which handled samples and MIDI. There was also Protracker, but it was too limited and didn't handle MIDI. It was because of this limitation that I chose OctamedPro to create my first compositions (the tracks on Provision Records were all created with this software, by the way). I also used a small TR505, a Yamaha SY22, a TX81Z, and a Yamaha 01V. Everything was connected via MIDI. As for DJing, I've always mixed on Technics turntables. I also sometimes play digitally because both bring enjoyment and creativity. It's not the same approach, but both ways of approaching DJing are enjoyable to use once mastered.
HCBX: Your tracks stretch across decades — from early Radikal Groov productions to later releases on Epiteth, Provokation etc. How would you describe the core of your sound, and has that definition changed for you over time?
DL: I've always been searching for new sounds. I like finding combinations that create original sounds. Back then, I had a studio with just a few synthesizers. You had to work within those limitations. The settings weren't intuitive at all. The possibilities were very limited, but looking back, it was already amazing. Currently, with technological advancements, it's different. There are so many sound choices and possible settings that you can get lost in all the options. Personally, I think my sound evolves over time. Nevertheless, I think I always maintain my basic structure in my current productions. They also evolve, but the foundation of my structure remains the same.
HCBX: Are there any artists, labels, or scenes within or outside of hardcore that have influenced your creative process?
DL: Yes, of course! Liza 'n' Eliaz, definitely. Aphex Twin as well, for the variety of his sounds and compositions, Nasenbluten for the hardcore rap fusion, Mark N for his remarkable mixing technique, Klaus Schulze for his hypnotic melodies, Klaus Nomi for his futuristic atmospheres.
HCBX: I probably know you best from your excellent output on Provision Records. Talk us through how that collaboration with the late great Liza 'N'Eliaz came about.
DL: At that time, I was hosting a "Techno to Hardcore" radio show with my friend Christ Of Noise. Later, we developed a project to organize a big Hardcore party in Dijon at the An-Fer nightclub (sadly now closed), which was the go-to club for electronic music in France. An-Fer had hosted some of the biggest names in music (Daft Punk, Carl Cox, Jeff Miles, etc.). Therefore, we needed to find a world-renowned artist for this project. We immediately thought of Liza. I contacted her, and she agreed to come to Dijon to perform at An-Fer. It was a magical night. That evening or the next day, Christ Of Noise and I asked her to listen to our tracks. She listened... silence... She asked us to listen again. We rewind our cassette (yep, back then, tracks were on cassette), play it again, and then the music stops once more at the end of the tracks. Another silence. A few seconds later, Liza tells us she loves our tracks. She explains that she's starting her own label called "Provision Records" and offers to sign our tracks to it. All the tracks we'd played for her were the ones that had been pressed on her label with excellent mastering.
HCBX: Of all the tracks you've released, which ones are you most proud of and why?
DL: That's a trick question! :D It's not easy to answer. I'll tell you that some tracks resonate with me more than others. In hardcore, I really like "EinsZweiBrrrr" because even now, it's simple and effective at parties. This is perhaps one of the songs I enjoy playing because I feel the audience is more receptive. I've never felt a particular pride in my work. Some of my compositions speak to me more than others. I have a piece I just finished recently, and I think it's quite polished. Even better than usual. I don't know yet what format it will be released on, but I think it should be well received by the public. It's quite different from the others and very, very fast. This might be the piece I'm most proud of! ;) A little exclusive… Its name? Melodic Momentum. Its speed? You're not ready! 270 BPM!!!
HCBX: What’s your typical workflow when starting a new track — do you start with rhythm, melody, etc? How much is improvisation vs planning?
DL: It depends. Often, I open my music software (Renoise, the best tracker in the world for me) and start listening to samples, instruments, and presets. Once I find a sound that interests me, I isolate it and start modifying it. Sometimes I can spend hours modifying a sound, and then it's simple: if I still don't like it despite hours of tweaking, I delete everything. If I like it even a little, then I start adding a basic rhythm and try to see if I can feel something. If so, I modify it and add another instrument or rhythm to see if it all blends well. Once I have something decent, I start building the track according to my own feel (intro, drop, break, etc.).
HCBX: You’ve been part of the scene since the ’90s — what are your thoughts on how hardcore and techno have evolved since then? Do you feel the spirit of the old school lives on?
DL: The 90s were the beginning; there was so much to build, so much to discover. Everything was archaic… At the same time, it was thrilling to discover this new world! I remember exchanging technical tips with other artists. Driving around to DJ in incredible locations. I think that back then, the interactions were different. We were a “family,” and in a family, there are no “stars.” What mattered most was back then was mutual support, listening, and helping each other out with all kinds of technical issues. Today, with digital technology, anyone can call themselves a DJ. All you need is a USB drive and to press the "Sync" button to make a clean mix. Sure, it'll be clean, but for me, a mix also has to have soul.
A DJ has to tell a story. They have to bring their mix to life, they have to take the audience on a journey. And for that, there's no other way than to listen to music regularly, practice your mixes regularly, and master the equipment. There's no secret to it; that's what will make the difference, in my opinion, between a DJ who's passionate about music and a DJ who's passionate about followers. I don't want to get into a childish debate between vinyl DJs and digital DJs. Both offer excellent performance and the opportunity to be truly creative if the DJ knows their equipment even a little. This requires work, practice, willpower, and a good ear for music. What's unfortunate today is that for many new DJs, music takes a backseat to social media visibility.
HCBX: That spirit definitely lives in your recent track Hô My Bitch out on Hô's Epiteth. This is a new track. Talk us through how you started working on this after a break, and is there more to come?
DL: "Hô My Bitch"... I composed this track after a bit of fun with my friend Hô. She asked me if I could compose a new track for her label, Epiteth Records. I gladly agreed and started listening to samples, and I came across this sample that says "Bitch…Bitch…Bitch!" (As an aside, it was Christ Of Noise's voice) that made me think of Hô because sometimes, between us, I like to call her "My Bitch"! ;) So, I created this track with this sample as a kind of dedication to our precious and strong friendship. Anyway, yes! I have a new track finished and ready for production. I also have a new project. I'd like to create an Ambient album.
HCBX: How do you feel about the current state of the French and global hardcore scenes?
DL: Times are changing, and mentalities have changed a lot too. I find that the music is no longer the main focus. You have to be seen, play as many shows as possible, get as many bookings as possible. I think there's a lot of rivalry, jealousy, and oversized egos. Alongside that, there are some really great parties with truly passionate people. I think the scene today is kind of split in two. On one hand, you have the passionate fans with well-organized "Rave Party" style events where there's a real sense of solidarity and a "family" vibe that I particularly appreciate. The hardcore played at these parties is often quite underground. On the other hand, there are huge events like Thunderdome (among others) with insane shows and really established artists. Musically, you'll find a more mainstream hardcore scene there. Personally, I like both styles of events. You don't find the same thing in both; there's good and bad in both types of scenes. There's something for everyone.
HCBX: Great to see you playing a good few parties lately and events including the "Special Memories" tribute to Liza N’Eliaz - how has this been and how do the parties differ from years ago?
DL: I was lucky and privileged to know Liza personally. She was an exceptional person with incredible talent. She taught me so much about music, but she also instilled in me wonderful principles and values. Liza gave me so much that I now feel it's only natural to participate in tributes, provided they remain non-political, non-religious, and non-toxic, and that they showcase Liza. I'm always careful about these kinds of projects. If the requests are respectful and serious, and meet my requirements, then I generally accept.
HCBX: What have been some of the most defining moments in your career (so far) both good and challenging?
DL: The most memorable… As for a bad moment, I immediately think of the first Techno Parade in Paris in 1998, where I was scheduled to perform on the float representing Dijon. Dijon was home to the legendary An-Fer nightclub, which was very focused on house music. When I started playing my set in front of thousands of people, one of the organizers, who wanted house music on his float, cut off my live performance. It drove me crazy!
The good times… There were so many. Big parties with an insane atmosphere, smaller parties with great vibes too. Magical encounters, amazing trips.
HCBX: You have over 30 years of experience in hardcore—what advice would you give to someone starting out in production or mixing—in terms of creativity and longevity?
DL: Going out in the evenings, meeting people, and finding the right people who will motivate you. It will require perseverance, accepting criticism if it's constructive, staying humble, keeping your feet on the ground, and not touching those damn drugs. It will also require working on your mixes (DJ) or your compositions (producer). Learning to master these machines and software. Respecting other artists and, of course (and especially), your audience. Sharing and passing on your knowledge and expertise.
HCBX: Besides music, what other activities do you enjoy?
DL: I like computers, video games, playing chess, talking to AI and asking it impossible things. Enjoying all the pleasant moments that life has to offer.
HCBX: Anything else you'd like to get off your chest?
DL: We're just passing through here… Time flies! Use it wisely… Jealousy and hatred bring nothing good. Help and love one another… Unity is strength, and make love, not war!
A massive thanks to David for spending time answering these questions and for the set submission. You don't want to miss this one!
You can check out David's excellent set on HCBXCast from Saturday 14th March at 9pm GMT here: HCBXCast 80 - David Lagon
