Soundrevolt readers should already know something about Chris Fortier. However we decided to introduce this artist to you even more closely. If you’re interested in Fortier’s latest occupation, his opinion about remixing mainstream tracks and what does the US and Dubai clubbing look like – you won’t find this interview boring. Have a good lecture then and see you tommorow in Piekarnia!

Sound Revolt: What have you been working on lately? What's with the Fade album?
Chris Fortier: I have actually been finishing a few things that have been lingering on since the summer started. Some remixes. I just finished a remix for Stefano Greppi's new label, Screen Recordings. I have also finished an alternate remix to my D Shake remix. I have begun work on a couple other new singles for myself as well. As for the Fade album, it is now on an indefinite hold. It is very difficult to get beyond the point we are at now. I live in New York and Neil lives in Orlando and logistically that is tough, especially with my touring schedule. Also, my focus the past 2 years has been on my own solo productions. So for now, the Fade lp is on hold until we have the luxury of working like we used to. It is going to take some time to whip it into shape and at this stage where I am at, it is difficult to find the time. Although we were able to do a remix of the new Kristine W, but that is something that is a few days and can be handle from anywhere.

Sound Revolt: That’s one of the things I wanted to ask you. I heard the original of “Wonder of It All” and I got pretty scared to be frank. I totally lost my respect towards Gabriel & Dresden when they remixed “Save My Soul”. What is Fade going to do with such a mainstream track?
Chris Fortier: I don’t think it is anything to be scared about. I hope there is a big recognizable difference to what we (Fade) do and what Gabriel and Dresden do. In fact, they have built most of their remixing career on remixing commercial and pop tracks. We have occasionally done big artist remixes and always embrace the opportunity to do so. Working with people like Kristine W or other more mainstream artists is a big chance for us to take our music, our sound, to another audience. And that is something I/we strive to do everyday. I can easily stand behind this remix and all of our other productions too. I hope when people hear it, it will be clear.

Sound Revolt: Could you tell me more about the problems with samples in ”Losing Wait”? What's the story all about?
Chris Fortier: Basically I used a vocal from a really old record. When I made the track, I didn’t think beyond just getting the creative part completed. Once I finished the track, I played it out and gave it to a few people. Satoshi was one. He liked the track a lot. They called and asked if they could sign it. They knew the original vocal and thought they could easily clear the vocal for use in the track. Unfortunately, they were wrong. It proved very difficult to deal with the label that owned the rights to the vocal. That label wanted an extremely high amount of money for the use. Because I was on tour with the bedrock album, I didn’t have time to dedicate to the clearance, so I left it to Hector and Satoshi at Saw Recordings. Now many, many months later we still hadn’t received permission. So I decided to go into the studio with a vocalist and re-record the vocal so we wouldn’t have to deal with the original label any longer. I have done that now and the tracks have all been replaced with the new vocals. So now it is only a matter of time before the release. It looks like early next year for the official copies with all the mixes.

Sound Revolt: You wrote on your website that you've been working with a new vocalist. Could you unravel this little mystery?
Chris Fortier: I have been writing a lot of songs and finally got ready to go into recording them. I met a couple great singers earlier this year. I went into the studio to re-record the vocals for
“Losing Wait” and also had her do a new track of mine too. I have been collaborating on songs with another singer. We are still in the writing process, but I feel really good about the prospects. There will be more to come very soon!

Sound Revolt: How is the scene doing in the US at the moment? Do you have similar problems like the UK?
Chris Fortier: I think things are still in a difficult place. The economy has had an effect on the clubbing industry like in the UK. Many of the bigger staple clubs have re-thought their music policies and even some have cut back a lot on the number of events they do. But the club nights themselves are still strong. All the gigs I have done in America this year have been good. The atmosphere has been electric. This goes for all of North America and Mexico which is generally thought of as the same territory for touring. I think the UK has similar things going on too. Many clubs grew fast and had expansion and when the economy and record industry took a hit, the clubs in turn have been hit. There are a lot of new venues starting to pop up and that is going to be healthy for the whole of dance music.

Sound Revolt: What about the government’s policy towards clubs and rave acts in the US?
Chris Fortier: There is always a tug of war between the clubs and the authorities to some extent. There are some policies in place now that can be detrimental to clubs, but that is only for clubs that are not doing what is required by the law. If the clubs ignore the potential hazards of the industry, they can face some big problems. But for the most part, the legitimate clubs are running fine.

Sound Revolt: You perform all over the world. What does clubbing look like in places like Dubai for example?
Chris Fortier: I would say that the clubbers are all relatively the same worldwide. They want to dance and have a great night out and get lost in music. That trait is definitely common. There are some places in the world where things are very new and the crowds are really embracing the whole movement. That for me is very exciting and something I am proud to be a part of. Helping the growth of dance music is very important to me. I think in a dark club when the music is put together right, you have the potential for a great night. And that goes for anywhere in the world. For Dubai, it is great. The crowd and clubs are enthusiastic and there is some much potential there.

Sound Revolt: So what do you know about Poland? Have you heard any opinions from other djs?
Chris Fortier: I have not heard much about poland actually. I did meet someone last year who said that it was really great there, but I don’t know any of my close friends who have played there. What I do know is that Eastern Europe is fucking great and I have played a lot of places in that region the last couple years and if Warsaw is half as good as some of these places, then it should be brilliant. I am looking forward to the gig and meeting the people involved there. I am feeling very good and I am excited to visit such a great and historic city.

The End

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