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Search for French electronic music and you will land on the same handful of names you have known for fifteen years. The atmospheric end of the scene happens elsewhere: on foreign labels, inside conservatoires, on a stretch of Arctic sea ice. The ten artists here share neither a style nor a generation. What they share is a method. Each one sets a production constraint before writing a single note, and that constraint is what produces the space you hear. An Inuit village, a train carriage, an instrument designed in 1928, a single monophonic synth, a speaking voice, almost nothing at all. For each of them I list the software and hardware wherever it is publicly documented. Ten ways in, ten specific records, and enough to seriously widen <\/span>an already well-stocked electronica playlist<\/span><\/a>.<\/span><\/p>\n Romain De La Haye has released music as Mol\u00e9cule since 2006, first in the wake of French dub and abstract hip-hop, then turning firmly towards techno in 2010. His principle fits in one sentence: build nothing in the studio. In 2013 he boarded a North Atlantic trawler to make <\/span>60\u00b043′ Nord<\/span><\/i>. In 2017 he spent five weeks in Tiniteqilaaq, a hunting village on the east coast of Greenland, from 24 January to 5 March. The album that came out of it, <\/span>-22.7\u00b0C<\/span><\/i> (Because Music, 2018), is named after the lowest temperature recorded while he was there. Ice cracking, sled dogs, Inuit voices, wind: the raw material goes straight into a dark techno record, untouched once he got home. The twenty-five-minute documentary he co-directed with Vincent Bonnemazou, <\/span>first screened by the Philharmonie de Paris as part of its Electro exhibition<\/span><\/a>, shows the other side of the dogma: isolation, the language barrier, constant doubt.<\/span><\/p>\n On gear he publishes no detailed list, but he does give the one number that matters: <\/span>150 kilos of equipment taken to Greenland<\/span><\/a>, flown in on two planes and then a helicopter. His method is not travel light, it is rebuild a complete studio somewhere else. The cost of the constraint is logistical before it is musical. Start with <\/span>Sila<\/span><\/i> and <\/span>Inlandsis<\/span><\/i>.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.7″ _module_preset=”default” global_colors_info=”{}”][et_pb_code _builder_version=”4.27.7″ _module_preset=”default” global_colors_info=”{}”]Mol\u00e9cule: go and fetch the sound where it lives<\/b><\/h3>\n