KAZY LAMBIST

KAZY LAMBIST

He continues to plough the furrow of frictionless, conflict-free music. Hospitable and panoramic. Sophisticated and hedonistic. Volatile and elegant. Relaxed yet embodied. For where others use their electronic arsenal only for warlike purposes, Kazy Lambist is a boy of sensuality and emotion who doesn’t confine himself to a restricted space; he whose tracks are intended precisely to push back walls, to spread vision. And, of course, to make you dream in a hammock, dance in a hushed lounge or on a dancer-floor bathed in hypnotic sunlight. It’s been that way ever since Kazy Lambist’s first viral track Doing Yoga, an audience award at the Inrocks Lab in 2015, the enthusiasm of director Guillermo Del Toro, an artistic collaboration with designer-stylist Jean-Charles de Castelbajac, and then a definitive take-off with 33,000 Ft. a radiant debut album, establishing her aura on the electro-pop scene.
It took Kazy Lambist almost six years to write a second chapter in the long format. Not to be confused with inertia. Between a Sky Kiss EP open to all winds, including a convincing collaboration with Jean-Benoît Dunckel from the group Air, the rereading of some of his hits in a classic version (the Decrescendo EP), and other exploratory cartridges (Nasty, in the company of Tutti Fenomeni, Italian rapper and actor), the now thirty-something has left some enchanting traces in the ears. And in the legs, in concert or DJ set, in France and abroad. Undeniable international influence, reflected in a platinum single (Love Song), five gold export singles (Doing Yoga, Headson, On You, Annecy & Work) and a tour around the globe, starting with some twenty upcoming dates in the USA with Kid Francescoli. At the forefront of this international resonance: Turkey. A country where his success is already a cause célèbre. As well as performing there with assiduous frequency in recent years, he spent a month and a half last year in the artists’ quarter on the Asian shore. It’s called Moda, like his album. Over there, Arthur Dubreucq, as he is known in civilian life, recorded Dünya, a seraphic track where Sedef Sebüktekin’s timbre acts like a balm and Turkish violin blends with Jowee Omicil’s saxophone. The same goes for Moda Disko, a jubilant italo-disco he shares with singer Den Ze, which could have been part of the soundtrack to the film La Grande Bellezza.
Produced by himself, with the help of Glasses (already an accomplice on Love Song and Oh My God) on a few tracks and the inescapable Ash Workman (Metronomy, Christine and the Queens, Baxter Dury…) at the mixing desk, this is a collaborative record, rich in the intervention of instrumentalists from diverse horizons and in which the electronic and the organic combine wonderfully. It’s also a record with a geographical reach that embraces Turkey, Italy (he lived in Rome for two years during its conception) and the South of France (he was born in Montpellier), with Mediterranean symbolism as its common denominator. It’s also a record that throws itself into the limbo of a chill-wave blossoming in its variants and diffused in reliefs or eddies. Lastly, this is a record that, crossed here and there by stories of love, simultaneously aims for sonic ecstasy and the pains of introspection (After All), and finds in its combination enough roundness (Italian Way) and golden reflections (Somebody To Love) to shine at variable speed according to mood. Liquid pop (Nirvana feat Californian Julietta), voluptuously solar to better articulate the disintegration of the relationship between an artist and his muse (Lost with Amouë, the singer who has long accompanied him on stage), stirring to celebrate wine in immoderate drunkenness (Méditerranée). Or the groovy sensuality of his Flawless Form with Strasbourg jazz collective Emile Londonien. Kazy Lambist looks beyond borders, always at the perfect distance between refinement and pleasure.