Gilb’r (2015)
Versatile is the story of a man, Gilb’r, but it’s also the story of a family he has built founded on a shared love of music. Jazz was his teenage love, then he started DJing hip-hop and funk, before moving from Nice to Paris to become a programmer at Radio Nova. He created the label to release music by I:Cube, and found himself with two club hits right off the bat: they laid the foundations for one of the most eclectic catalogues of modern music, embracing drum & bass, house, techno, hip-hop, jazz, and many other styles, yet always with a clear vision.
In a 2015 Red Bull Music Academy session in London, Gilb’r sat down to discuss his label, his DJing career, mixing, and much more.
Hosted by Emma Warren Welcome back to the second part of the Final Road to Paris session, in preparation for the Red Bull Music Academy in Paris later this year. Our guest right now is someone we should give a very big welcome to. This is Gilb’R, the guy behind the incredibly influential Versatile Records and someone with two decades’ worth of influence in music. A very big welcome, please, Gilb’R. [applause] Can we start by talking about Versatile Records, the label you started and that you’ve been running for 18 years now? Gilb’R Yes, we can. Yeah. Emma Warren Thank you. Merci bien. Where would you say your label is right now? Because the label’s developed a lot over time, hasn’t it? Gilb’R Yes, it developed all the time. I kept interesting into new music. Basically that’s the music that kept me interesting into releasing stuff. I try to get myself entertain with some new stuff and also discovering some new stuff and try to relate them. I called the label like that because my vision of music was as one box and I didn’t want it to be to release one kind of stuff. The first two release we had were quite big into what they call the French touch, some filter disco stuff. As a first release, I made something different just to show to the people I wanted to release some different kind of stuff, which is sometime an advantage and sometime a disadvantage because people don’t really know what to expect, which I like. Emma Warren This “French touch” you mentioned, which I think generally in the UK we called French house the late ‘90s into the early 2000s, you were an important part of that world. You released early records by Daft Punk, Pépé Bradock, all those guys. But what you’re saying is, from the very beginning, even though it might have seemed like part of this musical world, you always wanted it to be broad and versatile. Gilb’R What’s the question? Emma Warren Is that the case? That right from the very beginning, even though it seemed very much associated with one type of music, the intention was always to be broad? Gilb’R Yeah, because it just happened like that. I don’t know why. We discovered some kind of funk or disco record. Also, seeing music is very related to technology, our music sound is related to technology, and at that times it was ‘96 was the sampler stuff and some filter function. Basically I think we all had fun with this, at first in a very naïve way, and that’s how it came out. Emma Warren Before we go back in time and talk about that era, can we hear something from the label right now, one of your more recent releases? Maybe… Gilb’R Yeah, I can play you the… Emma Warren Maybe Etienne Jaumet. Gilb’R Yeah, OK. Emma Warren Maybe for people who… [music starts playing] We can talk about it afterwards. (music: Etienne Jaumet – “Stuck in the Shadow of Your Love”) Gilb’R It’s a long intro. It’s quite long and I’m not going to play it all. This is has to be developed. Actually, Jaumet, it’s funny example because this guy doesn’t come at all from the dance music scene. He comes more from the indie scene. He doesn’t even work with a computer. He sequence everything. He has 808 drum machine, will use the clock. This is his second album. The first album, I asked Carl Craig to produce it. When I came to him, I play the music to Carl, he’s up to produce it, and he said to me, “Ooh.” He has an approach of the music. It’s not very on the track, which is more techno scene, but very unique, very particular and not coming at all from the dance music. On the label, basically it’s a group of people who are all really into music, but all of us, we come from a different genre, different kind of stuff, but we all fit together rightly. Emma Warren We had Ivan Smagghe on the couch yesterday and he was talking about how in France, there’s often a very big separation between the kind of tribes of music, maybe that we were talking about before, and that if you’re in a more rock or indie or guitar-based side of things, you’re just really going to be interested in what you might broadly call dance music. Is that still the case in France? Gilb’R No, not at all. Even for a long time, it was very difficult to get some big DJ to come in Paris and the night scene was a bit slow for quite some time. In the last four, five years, it completely changed into something very heavy. We have some very big parties and also some kind of collective, made me think like back in the day in the rave scene, some kids from 20-year-old take a venue somewhere, a bit illegal and have two thousand people there. It tends really to mix now. Emma Warren These raves are happening in France now? Gilb’R Sorry? Emma Warren These raves, these big parties that you’re talking about in a warehouse, are they happening in France now? Gilb’R Yes, they are. Yeah. Emma Warren Can you paint us a picture what kind of things are happening in these parties? What music’s being played? Gilb’R All kinds of stuff. Mainly house music, because it is also funny to see this big ’90s house revival. It’s mainly those kind of stuff. Also the funny thing is sometime the DJ are completely unknown and you have a lot of people to go there. I think it’s also a response to the clubs where the drinks are very expensive, there is many rules, and for a kid of 20, maybe it doesn’t have 12 euros to buy vodka or whatever. So there is much cheaper and there is a good sound system, there is much more freedom for everything, basically, so I think that’s why it’s booming right now. Emma Warren Is there any overlap with the hip-hop scene in France? Because there’s a huge hip-hop world in the country. Is there any kind of overlap between those two worlds? Gilb’R Yeah, but it doesn’t interest me much because with the difference of the United States, for example, when they produce hip-hop, they really properly produce it and I really like how it sounds. It’s because of futuristic and the production-wise are so kind of lesson. Where in France I think the hip-hop guys, they just want to make some hits and the way they produce music doesn’t really appeal to me, at least now. Emma Warren This ’90s house revival that’s happening in France — and I guess it’s also the case elsewhere — how does that show itself? Is that to do with the records the people are playing or the kind of music people are making? Where is that revival showing itself? Gilb’R I think in the ’90s the way house music was done was very fresh and very instinctive and a bit naïve. I think there is this will to come back to this kind of lost way to produce music. I think that’s why it’s so happening right now. But me, as I have been there in the ‘90s, it’s a bit sometimes difficult to play them again because I played them when they were released. Emma Warren I wanted to ask you about a different project you’re involved with at the moment, the… What’s it called? The Drippin’ for a Tripp release on Honest Jon’s? Gilb’R Oh, yes. From DJ Sotofett, yeah. Emma Warren Maybe can you tell these guys about what it was and what your involvement in it is? Gilb’R Yeah. With Sotofett, Stefan is a guy, very amazing. He has a label called Sex Tags Mania. He’s half-Austrian, half from Norway. He runs his label really by himself in a DIY way. He released all kind of stuff. He’s very trippy and very psychedelic kind of thing.
I met him in Paris once at a booking for a party. He told me, “I’m keen to come, but I like to stay in your place for three days and we make music.” I say, “Wow.” I say, “Why not?” So we did. It was a big chance. Because it’s not often, when you work with someone in the studio, that magic happens, something’s going on, and with him it was really the case. We did two 12"s on Versatile and this one is more like a club kind of thing where I invited many people to do stuff. The track we have on this Honest Jon’s release, basically I was in Berlin to play and I had a track I made and couldn’t go really until the end, so I say, “Maybe you can help me to… let’s jam it,” and we did. We did for two hours and he recorded everything. Actually I don’t have it here because this guy is a kind of vinyl Ayatollah, so I don’t even have the file, and I don’t know how to record, I’m sorry, but I can play some other stuff I made with him. It was very interesting meeting. Emma Warren Maybe we should hear something you do have that you recorded with him, or maybe his release on Versatile. Gilb’R Also it’s 15 minutes, the track. I won’t play it all. Emma Warren While you’re finding it, maybe can you tell us the process of how you turned two hours of jamming into a single tune? Gilb’R This track is called “Cobra” and for this track, also it was more-or-less the same process. Basically it was some scratch I had from a track I’ve done before. We’re just recording some stuff, I was playing some stuff. At the same time, he was structuring the track, which is very interesting way to work, if I can find the track. (music: Gilb’R & DJ Sotofett – “Cobra” / applause) And on and on, it’s 15 minutes like that. Emma Warren When you jam for two hours and you have this kind of recording of what you’re doing, how do you then turn that into 10 minutes or 15 minutes of music? Gilb’R That’s when the difficult part, at least to me, comes. That’s why I like to work with other people, because I like to have idea recording stuff. Stefan is very good to get focused. As you said, it’s also very important when you do something to achieve it and to finish it. I think it’s the most difficult. As you said, a good track or any idea comes the first 10 minutes. The rest is really more “laborieux” in French, I don’t know how to say, but — Emma Warren “Laborious.” Gilb’R Yeah. It’s like we have to really bring it to the end, especially structure-wise, and then after, mix-wise, how you put sounds in space, which kind of effects you give them, how they arrive.
Basically in there, it was done, this, on the spot basically. The track was done while we were recording it. We finished the day and the track was done. For the other one, after Stefan that came back and listen and edit, which is good, but it’s not my best part, I’ll say. Emma Warren For you, really the creative process is mostly about just kind of doing it, capturing something and then finessing it afterwards. Gilb’R Yes. The process really changed to me since I started to do music into sitting in front of the computer and look at cubes and repeat spots and stuff like that into now more jamming the track, record it. Sometime you can jam it for one hour or two, and then I prefer to edit after that. So I really have the vibe of me like moving some faders, sending some effects on the mixer and more like a live feel into the production. Emma Warren You’ve worked with lots of different people. You worked with I:Cube for a long time and Château Flight. You’ve collaborated with lots of different people. What for you is the hallmark of a successful collaboration? Gilb’R You mean until now? Emma Warren I guess I mean, how do you know if it’s going to work? Gilb’R I think it’s evident, in a way. When the studio something is good and it’s just evident that way. Sometime when you work with some people, there is some ego. For example, a guy say, “OK, I play that chord so it’s good.” Sometimes people will fight a bit to have their ideas in the track, but me, what I like the people I work with, the good idea is imposed by itself. It just happened like that. It’s also very good to leave it on and not to put egos at all into that process. Emma Warren I guess some people here might already be working other people or maybe they’re working by themselves and haven’t yet started collaborating. What would be your advice maybe if you’re at the beginning of that experience? How do you go into a collaboration in the right way? Gilb’R Just leave the idea, even it sounds crazy, even it sounds weird. Just let it go and don’t stick to anything. Just have fun, basically. It’s about to have fun in the studio. That’s it. Emma Warren The Château Flight stuff, which we just mentioned, is on hold at the moment, isn’t it? Because you and I:Cube are both doing separate things. What’s he up to and what are you up to? Gilb’R With I:Cube? At the moment it’s, we collaborate for a very long time and after a while Nicholas, I:Cube, he wanted to get back to his own stuff. He also moved from Paris to Roma, so we had a kind of break working together. The latest stuff we released was a Terry Riley cover project. We still want to do some stuff, but this also allows me to do other things, also him to produce his “M” Megamix album. It was released last year. Now he’s really… I can play you some new stuff. He’s really on fire, basically. Emma Warren Let’s have a listen. Gilb’R This is going to be… I can play this, too. It’s a beat track that has no bass lines, only a beat. (music: I:Cube – “109 BPM”) This is going to be out on Running Back. It’s not my label. It’s from Gerd Janson label. These are the one we release very soon. Emma Warren This one’s going to be forthcoming on your label? Gilb’R For Running Back. Let me find the other one and I play it. This is the other one. (music: I:Cube – “Cryptoporticus (Cloudy Mix)” / applause) Emma Warren Wow. That is a rave record. Gilb’R Yeah, it’s very bleep, as you mentioned. Very Sheffield influenced. Emma Warren This is a new thing from I:Cube? Gilb’R This is the next one that’s released at the end of the month. Emma Warren Are you hearing this music being played out at the warehouse parties that you were talking about earlier? Gilb’R His music, you mean? Emma Warren This record. Gilb’R Yeah. For a brave DJ, that could be, yeah. Emma Warren Have you been playing that out? Gilb’R What? Emma Warren Have you been playing that out in — Gilb’R Yes. A lot, yeah. Emma Warren What happens when you play that record? Gilb’R How? Emma Warren What happens when you play that record? Gilb’R People like it, if I drop it in the right moment. Emma Warren What is the right moment to play that record at a rave? Gilb’R I would play it in the beginning of the set, maybe as a second or third track. I think it’s nice. I like the tempo. It’s slow, but still it’s heavy bass and heavy beats, too. What I like in this guy really are the two things I really like in the music, which is the space, the psychedelic kind of thing, but also beat-wise and bass-wise, very heavy. Emma Warren You’re a DJ who’s really known for, I suppose, flying the Versatile flag very heavily in terms of playing very broad types of music. I guess some people may have seen you, they may have seen the Boiler Room Paris set that you did, it was a year ago, maybe? Gilb’R Yes, something like that. Emma Warren Maybe if people haven’t seen that, can you give them a sense of what they would hear if they came to see you DJ? Gilb’R A lot of stuff, basically some disco, some techno, some house, sometime some synth wave, some reggae sometime, maybe some drum & bass if I play long. I’m not the type DJ at all who play one type of sound. It’s something I don’t know how to do, like to make some very slow building and some breaks.
Me, I like the accidents, I like to bring people everywhere. Which is sometime difficult because, as DJ, it requires a lot of energy to get the people and sometime you can lose them when you play the wrong tune. But that is the way I am. I have fun playing, otherwise I would think it would be depressing for me not to do that. Emma Warren I know that you play all over the place. I know that you played as part of the closing parties for the Trouw Club in Amsterdam, which is a very famous Dutch club, a dirty old warehouse. I thought it was quite cool because rather than just having a closing night, they had a closing season, almost, didn’t they, where they asked everybody who’d played a club to come back and do their final Trouw set. What was yours like? Gilb’R Me, for the first time I played and how many time, that last time I played downstairs, which is very filthy and raw and dark place. Which I like. Because upstairs it tends to be very also formulatic music with some beats, some breaks, some stuff, and some beats again. But downstairs you can really play whatever you like. Plus, as the DJ, it’s great because the sound system is amazing. They give you the choice of the mixer, so I asked for some rotative mixer. Then we can really get into it when the sound is so good. Basically I had the feeling I’m riding a big truck and that I can play whatever I like. Emma Warren Why that mixer in particular that you chose? Gilb’R Why? Emma Warren Why that mixer? Gilb’R Because the rotative way to play music, I used to play a lot of hip-hop and I used to be loading some cut and stuff like that, but not anymore. Now I’m more into blending stuff together. With this type of mixer, you can really make it in a smooth way. That’s why I like it. Emma Warren If we were to be in your studio, what would be seeing around us? What do you have in your studio? What’s your setup? Gilb’R Many old stuff, some few drum machine, but not too much, and we don’t have 808 or 909. I used to have one. Many synths because, synthesizer to me, they have very — a character. I also like the way there is knobs and function that you can play live with. Basically, for example, my main piece is a Juno-60 and I use it since the beginning. I can’t get rid of it. You always have some so much combination with the synth itself, and also, when you’re messing around with some effects, you can also have the sound completely different. It’s also about fun, actually. Emma Warren Have you had a kind of technical discovery recently? Have you discovered a process or a piece of hardware or a program or a trick that you’ve discovered recently? Gilb’R No, not really. Just like before, I was looking this two ways. When Ableton came, to me it was very fit to me in a way because it was very — for example, in Cubase, you change the tempo.
I used to work with samples, it was really a trance. It really a pain in the ass to do that, and suddenly it became very simple to mix some intuitive way of doing music and at the same time being able to coming back to it and to make it even more better. To me as a software, that would be easy. But for me, that does it. I just regret a bit the sound sometimes. When you put too much track channels, I think the sound, it change a bit, it becomes a bit blurred, so that’s why we keep a mixer. I always work with a mixer because I like to have the physical effect on the channels, on the effects and stuff like that. Emma Warren Taking it back to the music you released just for one minute, you’ve been putting out a lot of reissues, including some re-edits of old disco records. You were just talking about liking to DJ in a disco way. I wanted, if you could tell us a bit about the disco re-edit project that you did, and what it is for you that makes a good reissue? Gilb’R I think when nobody knows it. This compilation release called Disco Sympathie is from a guy called Vidal Benjamin. This guy’s a lawyer in his life, but he has the patience to go on flea markets every weekend with his Fisher-Price thing and basically his policy is to not to buy a record over five euros. It’s mainly like some shit stuff, some very obscure stuff, but he managed to find some amazing music that I would compare to B-movies. It was like the B-disco, funky stuff from the ‘80s.
It was also funny to — because we cleared all the tracks, and so we have been to look out to the people. Most of them had been like one 7" in the ‘80s because it was a big thing. Some of them has became, I don’t know, writing music for comedy musical, like what people sing, like, I don’t know in English the word. Some were working like post office. It was so funny to see that the trajectory of all these people.
Shall I play one track? Emma Warren Yes, please. Gilb’R This is an edit I’ve done with Vidal Benjamin. (music: New Paradise – “I Love Video” (Gilbert Cohen & Vidal Benjamin Edit)) It’s some stuff like that, some very sweet, like a candy kind of thing. Emma Warren There was quite a pop aspect to a certain type of French disco, then. Gilb’R Yes. Yeah, totally. I like this idea, people making a 7" and they would think they will be a star of the moment, but most of the time it never happened. It’s a big, untold story of the French culture in a way. Emma Warren These guys, you said they had ended up in some very different places, working in the post office or actually making music. Was there any particular story that really stood out for you about how they responded when they were contacted about this project? Gilb’R Yeah. Most of them were amazed like, “Wow, I have done this 20 years ago.” We made a release party and actually we invited some of them. It was really touching and very fun. I have this guy called Johnny Rash, and I think that’s his real name. He called me and I said, “Please send me some more. Maybe it could be played in radio, in Cannes,” and stuff like that. They’re into it. Emma Warren It’s quite different from the other reissue that you’ve done recently from the guy from former Yugoslavia. Gilb’R This not I can play somebody, this is the next project. That’s why I like to run my label because basically I can do this and I can reissue. This Rex Ilusivii is completely a different story. This guy has been introduced to me by Vladimir Ivkovic, which is the resident DJ of Salon Des Amateurs, which is an amazing club in Dusseldorf. If you go to Dusseldorf, go there. It’s a little, it’s probably like the third of the place, but they play the most crazy, odd music ever. This guy, he’s really a serious collector, and so he found this guy called Rex Ilusivii, who basically made music all his life but never released, almost nothing. He moved to Brazil in ’92 and he died in Brazil in ’99 in the fire of his studio.
He just released some Bebel Gilberto thing, which was a big thing in Brazil, so basically just arrived to make something that worked, and after the release party, went to the studio and tried to get stuff out of studio in the fire. He just died there. Vladimir made this long work, been to Belgrade to meet his mother, some friends, and it was an incredibly mass amount of music from the ’80s to the ’90s. To me it sounds, it’s like he found a treasure. Shall we play something? Emma Warren Like a lost genius. Gilb’R Exactly. Also, actually, I heard the new also reissue, a guy from France also I never heard before, and so that make me wonder that maybe there is in the world some, which is very nice. I like that idea there is some people not releasing nothing, just doing the music for the sake of it and never get released, so maybe there is even some more people like that, which I hope. Emma Warren I suppose it’s a slightly different thing, but it’s not too far off what Brian, I forgot his surname, does with Awesome Tapes from Africa. Finding something that was very small, very local, maybe not even released, and then picking out the best of this stuff and representing it back to the world. It’s actually a totally modern type of digging, isn’t it? Gilb’R Yeah, especially with amount like this and especially like the one is dead, and so it’s very strange story, actually. Emma Warren Is there anything we can hear? Gilb’R Sure. I skip the intro, it’s a bit long. (music: unknown) Emma Warren Wow. That’s wow. Gilb’R I also really like that I can hear the processes during the music. It’s so mixed. This guy has, I think he learned the music in kind of high school music, but also keep some… You don’t know the concrete music, the way they do is the recording, you throw my glasses on the floor to make some noise, mixed all together with the music. I think it’s a big mixture of many things.
It’s very rare to see an artist on such a long period to use lot of different gears, but the music sounds him. Me, that’s my main thing to sign people. For example, on the label, we are not so much, is I like to see the person in the music I hear. That’s what I like. Emma Warren So you want the music to sound really individual, unique, like the person it’s come from. I think now’s really the time to put it out to questions from you guys. You can ask whatever you want. If any of you have some questions, then we can just spend a bit of time on that. Yes. Where’s the microphone? Audience Member Hello. Hi. Gilb’R Hi. Audience Member I just wanted to say, for you, who’s the most exciting musician or DJ or producer to come from France at the moment and what’s the most amazing song that they’ve made that you’re really into? Gilb’R What’s the main… Sorry? Audience Member I’m sorry, that was two parts of the question. The first one, who’s the most exciting musician, DJ or producer to come from France or that is in France at the moment? And what’s their best song? Gilb’R I’m very bad at that. Audience Member Sorry. Gilb’R There is a very interesting label called Antinote. It’s some young guys, I would say, this label Antinote as a label. For the rest, to me it’s all related. I really enjoy to go out and to play music for an audience, and I also really like to get in a studio and just immersion and do music, but to me it’s so very related. I like them all, basically.
I also very appreciate, I first started to be a DJ before to be a producer, so I really like this energy exchange you can have with the people, and I also really believe you can drive people basically anywhere you want if you do it properly. That’s why if you, some of them are DJ, I really push you to take risk and to play the music you like. Audience Member Thank you. Emma Warren Any other questions? Was that a cough or a question? Audience Member I find it really interesting how versatile you obviously are as a DJ. Has this caused you problems, say, before your label became big? It can be a tough thing going to different clubs and playing such a wide range of music. Not that many people get away with it. How difficult has that been for you? Gilb’R How what? Sorry? Audience Member How difficult. Gilb’R Honestly, I never ask that question myself. I just release music I like. Next year it’s going to be 20 years. I never thought I would stay that long and I never thought there will be three of that long. The label has seen some up and down. Sometime we have some big tunes, sometime it’s a bit more low-key. Audience Member How about before the label? Gilb’R Before the label? Audience Member Just going to DJing clubs. Gilb’R Before the label, I was working in a radio station in Paris called Radio Nova. It’s quite famous in Paris. When I worked there, actually that’s why I started the label. The idea was to start the label with them, because I worked there for five years, and for some ego problem, it never happened.
I should tape at the time at the station. The tape basically has a kind of picture from a big building, a really big one, with maybe on the 30 floor round thing like, “I live here.” I listened to the music. Basically it was incredible because that tape really reflected the idea of the label I had — which was Versatile, basically. It had some techno, it had some hip-hop. There are even some trance and some stuff like that. Before, I was working on that station, and then when I realized it was not going to be possible to do it, I asked, “I’m not going to stay at the radio. I’m going to do the label by myself. Is that okay for you?” Then after I’ve been to see the Daft Punk and they didn’t make their first album at the time, we were a bit friend. I said, “I start my label. This is the first try. Would you like to do a remix?” We did. It was huge at straight, which was really a big surprise. Then after I started that, I said, “I put the label there. I have to keep on,” so I tried to did, basically. Audience Member Were you playing clubs before you played on Nova? Gilb’R Yes. I’m from Nice from south of France. When I was young, it was mainly rock clubs and I was not so much at the time into rock stuff. We decided to make our own parties. My brother has been to New York and took back a lot of hip-hop record, like the first De La Soul album, really the early stuff. Everyone has to do something in the party, somwhere in the bar, somewhere in the entrance. I was into music, so I will play the music, and basically that’s how I started to DJ. Emma Warren DIY all the way. Do we have any more questions? We’ve got one at the back first. In fact, one of the front first, and then we’ll go to the back. Audience Member Hi. This is a bit of a nerdy question. You were talking before about using Ableton and how you feel that it hasn’t quite got as much space when you’re trying to do a mix down. I thought this as well. You say that you’re sending a lot of stuff into your desk out of the box to try to do mix on it. Can you talk a little bit more about that, about exactly what kind of process you do? I say this because all the I:Cube records are the most spacious things I’ve ever heard. I want to know how it’s done. Gilb’R It’s a kind of a back and forth between if you want a delay or any effect to happen to a certain place of the arrangement with just a simple, like this, you can do it, and that’s really cool. Also, as I said before, to stick in front of the computer for hours and repeat stuff, I think you lose the kind of spontaneity of the music, at least the music I like to do. That’s why I combine together a desk with at least eight outputs, and so I can make some fade, I can add some stuff. Then finally I record it into Live with the effects, and then after I did, the other option is to, as I said also, jam the track for very long time. As group, for example, I have all the drums in one buss and one channel, the bass, the synths and stuff. And so while I’m jamming, I’m recording them in the computer. Then after that, I keep the spontaneity of the jam, but after I can go back to it and edit it in a more production way, I would say. Emma Warren Thank you. Question at the back. Audience Member There’s a quote from Theo Parrish that really resonated with me about this thing about you need to collect records for 10 years before you can really present them to other people in a meaningful way as a DJ. There’s so much emphasis on newness and new artists and things like that. Given that your label has been going for such a long time, how would you say your taste has changed over that period? How would you say it, for the better or for the worse? Gilb’R Definitely for the better. I think more your mind is open to music, I think to me the best it is for yourself. If you’re producing or do any kind of artistic work, it’s great. For example, when I started to make music, honestly, someone like David Bowie, for example, I say, “What the fuck? This guy doesn’t touch me at all.” Or new wave, I remember I was at school and I saw those people dressed in black, I say, “Hahaha,” look very… Me I was listening funk, jazz, mostly black stuff. Me, my evolution was very from the black stuff to, I’m going to say the white stuff, because to me it’s all about funk basically. Definitely more sensible to some music. I never thought I would, and this is because of the artists of the label, we are all constantly playing music one to another. “I discover this. You heard that?” That’s also to keep on doing the label that keeps me very entertained, and I definitely need that. If I wouldn’t have that, I would stop straight. Audience Member Thanks. Emma Warren Any final questions coming in? OK, then. In which case, please, say a very, very big thank you, Gilb’R. Gilb’R Thank you.