Try to decompose the sound filter that burst from Bertrand's turnatables. As much as the exercise will be difficult, as much an exalting pleasure will immediately transporte you.
Just finished high school, Bertrand abandons his guitar and is invaded by the new fever coming from Detroit. This one flows over Europe at the Dawn of the 90's and his first underground appearances in France seduce him. With JÃ©rÃ´me Pacman, they go to the first Rave at The Fort de Champigny. Bertrand is astounded. These discret communions gather surprising, joyous, enlightened people and his music still unclassable litteraly magnetizes him. He goes to parties more and more : Friday at The Rex Club, Saturday in Raves and very quickly the whole week. His disc collection follows the same inflationiste rise and naturally he begins to mix.
From 1991 to 1995, he works at BPM Records, first french record shop in electronic music, and participates to the creation of the label of the same name. In parallel his dj carrier knows a formidable acension, he mixes in numerous Raves, notably Soma's, the first Happylands, the Shamen concert or Â« Les Transmusicales de Rennes Â» in 1993. The Cd compilation Â«Rave Master Mixer Vol. 6 Â» on the label Fairway reveals rather techno debuts.
Progressively his style is affirmed. Non stoppingly he mixes syncop funk, and ciseled harmonies. The Detroit sound is erased at the profit of the more sensual colours of House music. His trips, vectors of exchanges are also real sources of inspiration for Bertrand, who appreciates exchanges with musicians as Carl Craig, Derrick May, Derrick Carter, Kelly Hand... Sensible to the audience he enriches himself with encounters made during his mixes. Then impose themselves the clubby and dynamic sets in is residencies at Temple : Rex Club, Jet Sex : PrivilÃ¨ge and Fish : Gibus and since july 1999 at The End London. His flying hands orchestrate a fascinating ballet of serenity, supleness and self-control.
Desirefull to share his knowledge and a different vision of music, in 1996 he joins the label Distance where he developps the concept Â« Distance to House/French Sessions Â», compilations of mixed house. He signs the second volume of this series in August 1997. He then starts to compose and reaches towards Rodolphe Lejeune, manager of Serial Records. His Â«Fuckin' Filter Â» 12'' receives an excellent welcome. At the end of the year, reworks on his second 12'', coming out at the start of 99.
His experience incites him to wonder on the codes of this musical language which he considers as a global aesthetic form. He then engages himself in a transversale gate which brings him to illustrate musically the abstrait painting of Katrin Fridricks, scandinavian painter. On another hand, invited by Mr Neveux, he contributes to the restucturation of the themes, and the explosion of the rythmics of his Tuba album (Bristol label : Cup Of Tea). Up to Lebanon, their Live provoques the enthousiasm of an initiated and demanding public. The success of this collaboration conducts Bertrand to compose a few tracks of Mr Neveux's futur album.
But beyond this avant-garde researches the vertigo of the party is still the essence of the step of this dj which you can't get away...