With over half a billion streams on YouTube, Kadebostany has created chart-topping singles, “Castle in the Snow”, and “Mind if I Stay”, new versions of Beyonce’s “Crazy in Love” (which was featured in 50 Shades of Grey), and managed to conceive a singular brand of music along with a unique visual identity. Created by songwriter and producer Guillaume de Kadebostany (endearingly referred to as President Kadebostan), Kadebostany delivers titanic live performances that are further enhanced by the morphing artistic talent of his collaborators.
Kadebostany‘s release of DRAMA – Act.1 exhibits the tremendous creative abilities of artists able to push the limits of the genre. Pop music has found a new alchemist who makes disparate concepts blend effortlessly with mass appeal and authentic excitability. This new EP is just the first part of a new series for Kadesbostony who gains inspiration from theater, film-based surrealism, and opera. I had the pleasure of speaking to Kadebostony about his new EP, performing live, and how he managed to produce music inspired by different areas of performance art that weave together so perfectly.
Hello. It’s RiMo from Fresh Music Freaks and I’m here today with Kadebostany. How are you doing today?
Hello, feeling great. Thank you!
Musically your band is extremely talented and versatile. Your lovely approach to music provides a distinct sound which, when combined with your exquisite vocalization, is a winning combination and quite frankly you’re one of the best song composers I’ve ever heard. Overall, your new EP “DRAMA Act. 1” has limitless potential. How do you manage to create your songs and perform them to such perfection?
Well, thank you for the warm words. I start with composition first, then usually I invite vocalists. I provide a theme for the lyrics or atmosphere and we work together on the vocal parts. These are the basic principles, but often it involves more complex stuff like having multiple writers on the lyrics side, trying to find the best interpretation, etc.
Can you please tell me how you started in the music industry and why?
I started DJing when I was fourteen. I was playing anything from Techno to Hip Hop/Turntablism, then I moved on quickly to composition as soon as I could buy some studio equipment (Reason and Roland MC-505 were my best friends back in the day). I was quite fascinated the first time my dad took me to a radio broadcast studio when I was around seven or eight. He used to be a broadcast technician in pirate radios in France in the ’90s. I still remember the first time I saw a Technics SL 1200 MK2 turntable. It became my religion and the studio was my church. Seeing passionate people, MCs, DJs, and musicaholics all united around the same passion made me understand that this is something I would like to dedicate my whole life to.
In “Letters From Her” featuring Irina Rimes, the playful melody and tones of the vocals are in contrast to the lyrics which alone suggest a deep-rooted problem that many of us face in our relationships. How did you come up with the idea for this song with such a unique approach?
All the credit for the lyrics and vocal melody go to Irina on this one! I came up with the composition wanting it to have this Sofia Coppola “Virgin Suicide” feeling, hence the out of tune Rhodes keyboard and the overall blurry pastel feeling. I wanted it to have a feeling of nostalgia without sounding too retro. I was dancing like a mad scientist in my studio when I completed this song. I have goosebumps thinking about that.
“I Wasn’t Made for Love” featuring Fang The Great is sung by a sensitive vocalist whose vulnerability is relatable and the vocals behind his declaration are haunting. The synths in the track provide a transition that seems to span lifetimes and life experiences. As the song progresses things change dramatically for the protagonist. It’s filled with honesty that is not normally shared. How were you able to provide this level of earnestness while making me want to dance to this tune?
This song was quite special. It’s the typical kind of song that went through a lot of transformation before finding its final form. Initially, I was not happy with it, and in cases like these, I usually try some crazy moves, so that’s why you have these two different parts with an abrupt tempo change. Lyrically, I wanted to develop something around the idea of: What do you owe to your country? I never try to make people dance, but sometimes I end up with something very danceable. It’s all about spontaneity and magic.
In “Baby I’m OK” the sultry vocals of KAZKA are on fire which seem celebratory as she declares she’s ok. It almost sounds like the minute you’ve gotten over a break-up and you can think more clearly about what went wrong in a relationship. The music is lovely. This song would be great on a movie soundtrack. Did you have this in mind while you composed it?
My music is quite cinematic because I get inspired mainly by what I see, which I try to turn into music. So it’s no surprise that you have this feeling. I try to create a landscape and a deep atmosphere in around three minutes. My goal is to take the listener very far in this short amount of time.
With “Take it Away From Me” Featuring Celia, the vocalist begs the listener to follow her wishes. Somehow she has found herself trapped and is “drowning slow.” There is a playful ethnic influence in the music that adds intrigue and an omniscient point of view as the listener has this power to release the vocalist from it all. What was the inspiration behind this track?
When I’m working with vocalists, I’m writing the music thinking about them while giving the lyrics a thematic tone. It’s a bit like if I was a fashion designer tailoring clothes for someone. I always try to give them something that fits them, but at the same time, I always include elements of surprise. For example, with “Take It Away From Me”, I thought it would be very powerful to refer to Célia’s southern Italian roots after chatting with her. Also, I wanted to develop the idea of a person coming from a traditional place escaping it and going to, for example, New York where they’re able to live their life. Many years later they face a problem and feel the need to go back to their roots and ask for advice from the very same people they escaped from (uncle, grandparents, etc). We had a very good time working on this track with songwriters Célia and Guillaume Boscaro.
Can you please tell me about a show you’ve attended in the past that made a lasting impression on you?
Einstürzende Neubauten. I had to go out of the venue to recover during the show. It was so deep and the content was so powerful. They are super conceptual in the way in which they do things.
How are you dealing with COVID-19 and isolation? What is your plan going forward in the industry and where do you think the industry is going after bracing the storm?
All good, thank you. I have a recording studio in my house and I’m working a lot. There is not much difference for me as I’m used to spending a lot of time creating music by myself. Business-wise, I believe humans have this ability to adapt to any situation and it’s just another evolution for the music industry.
Can you please tell me about the role music production plays in your work and if that includes input from all of the members in your group?
Well, Kadebostany is not a band. It’s my ideas and I’m collaborating with a lot of different people depending on the task. When I created this concept of the Republic of Kadebostany, I wanted to have the benefits of collaborating with a large group of people without the inherent problems of a “band.” I believe that in art, one has to be a leader. I don’t consider myself the best, but I have this ability to gather people around my ideas. I’m grateful to have the chance to collaborate with so many great artists.
So many musicians take a song whether written by them or someone else and attempt to make it their own. You’ve been extremely successful at this (for example in remixes). How important is it to your music to achieve this goal and how do you make it look so easy?
I would say I have a signature sound, but I achieve that without having organized tools. So, it’s always different from song to song. The signature sound comes from my head. If you see the instrument I’m using its chaos. Nothing is organized. And I like it that way. It forces me to create with my head and follow my vision.
How would you describe your music style(s) and has your style changed through the years?
Kadebostany Pop would be the ideal genre. In general, from album to album I like to explore new things and avoid repeating myself. So, I guess it provides a natural evolution in my work.
How do you stay healthy while working/touring?
This is hard, but I believe you have to get rid of stress no matter what. I think it’s the stress that kills people. I have touched on some different areas on this subject, like my music…
Can you please tell me about the type of hardware (instruments) you use or have been using recently and do you have a special relationship with them?
I just use whatever works for the task or whatever is available at the moment. Even if I have those iconic instruments like a Korg MS 20, Juno 60, and vintage samplers, I don’t care about that. These are only tools. The best albums have been made by great masterminds, not great tools.
Including your work, what music have you been listening too recently? Are there any artists (Art, Music, Performance) you would like to collaborate with right now or are inspired by?
Recently, I flew to Barcelona to attend a Batsheva Dance Company performance. I love Ohad Naharin’s work. I’m listening to a lot of music every day. I’m listening to Caribou right now, the new album is fantastic. Great artists inspire me a lot. Even things that I don’t like. Artists that say that they are not inspired by others are hypocrites. As long as my brain is stimulated by something, I consider it as inspiration. My life is filled with collaborations, sometimes quite unexpected, and I’m always looking for new ones.
Tell me about what you look forward to when performing live?
I like to hypnotize the audience and take them to another planet. This is my goal.
Is there anything that you would like your fans to know?
Watch the “DRAMA – Act 1” video on YouTube. It’s a 20 minute-long movie showcasing all the tracks from the last Kadebostany EP with all the vocalists. We shot that in Istanbul and it’s directed by amazing film director Hasan Kuyucu.
Thank you for speaking to us Kadebostany.
Kadebostany: Facebook | SoundCloud | YouTube
*Featured Image of Kadebostany Via Artist FB*
