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History of Deep Forest
Few French groups achieve worldwide success, but one such group is Deep Forest, who have sold several million albums to date. Deep Forest was born in 1990, in northern France, created by Eric Mouquet and Michel Sanchez. Already good friends for several years, Eric was over at Michel's house one day, when Michel, who was an avid student of ethnic music, presented him with ethnic samples he had been mixing. This idea of mixing ethnic music with synthesizers intrigued Eric and he suggested that Michel take the music further. Michel asked Eric if he would work with him on the project.
After months of work, they took what they had to Dan Lacksman, who along with Cooky Cue mixed the album at Synsound Studios in Brussels. In 1992 the self-titled album Deep Forest was released, mixing traditional chants from Cameroon, Senegal, Burundi, and The Solomon Islands with western dance beats and melodies creating an energetic yet uplifting sound, which became popular all over the world. The album also included Deep Forest's most recognized single Sweet Lullaby. The album was re-release in 1994 as World Mix with four bonus remixes in an attempt to better market the music the second time around.
Between 1994-95 Deep Forest was actively involved in remixing, infusing their style into the music of artists such as Apollo 440, Cesaria Evora, Jon Anderson, Youssou N'Dour, Sally Oldfield and the Sahotas. At the same time they were working on their follow-up album Boheme released in late 1995.
Boheme led the music to the folklore of Eastern Europe, again taking traditional chants & melodies and seamlessly blending them with modern beats and instruments. Only this time Deep Forest focused less on samples, and more on collaborations with artists from the region. Hungarian folk-singer Marta Sebestyn was featured on three tracks, including the popular Marta's Song. The result was music absent in the first album's dance atmosphere, and instead something much more haunting. Boheme earned Deep Forest the 1996 Grammy for best world music album, and it is often considered a favorite among Deep Forest fans.
In 1996 the group showed that they could turn their studio-only music into a live performance by gathering together an ensemble of musicians and going on a world tour. After touring, Eric and Michel began working on Comparsa, released in 1998. Comparsa took the group to Madagascar, Cuba, Mexico and Central America. The third album was a fast-paced and happy-sounding collection of songs. One of the highlights was the Media Luna, featuring the voices of Ana Torroja and Abed Azri? in a chilling duet. Another world tour ensued, which resulted in Made in Japan (1999) a recording of one of a concert in Tokyo's Koseinenkin Hall. The live versions of many of the songs contain improvisations and is an impressive re-creation of the originals.
Work on the next studio album began, this time with an eye on Asia. While working on the new music, then French actor Thierry Lhermitte, a fan of their music, co-produced and starred in the film 'Le Prince du Pacifique', and asked Deep Forest to compose an original soundtrack to the movie, putting their Asian project on hold. The soundtrack Pacifique (2001), tended to be more electronic-instrumental than their previous work, influenced by the Polynesian Islands. Pacifique being done, Eric and Michel continued exploring the music of Asia.
One day while driving home Eric was listening to a French radio program when he heard the incredible rocker voice of American Beverly Jo Scott. Eric immediately contacted her and asked her to work with them. BJ Scott's involvement had a profound effect on their music. In 2002 Music Detected was released, and as promised it featured many Asian influences and high-profile artists including Anggun, Chitose Hajime, Taro Hakase, and Mahalakshmi Iyer. Music Detected took Deep Forest in a completely new direction. There were two things that made it stand out as a milestone for Deep Forest. First was the use of a lot of English lyrics, which mingle with traditional Asian languages, on some tracks. Second, for the first time in a studio album, they used real drums, rather than synthesized ones, performed by Senegalese drummer David. The result was music absent of their trademark samples, instead lyrics took priority accompanied with raging guitars inspired by groups like Led Zeppelin and Aerosmith. The rock influence on their music was received negatively by some Deep Forest fans, but at the same time attracted a new crowd of listeners.
Eleven years after the initial release of Deep Forest, came Essence of Deep Forest (2003) their first best of album. The compilation includes music from their 4 studio releases as well as three new mixes. An especially noteworthy track is the new version of Sweet Lullaby sung by Ana Torroja, with alternative-rock influences.
In 2004 Michel and Eric took to the silver screen once again, composing the soundtrack to the independent Japanese film Kusa no Ran, a historical account of the 1884 rebellion. The score was made up of 21 brief instrumental songs, including the song Eternal Dream, featuring Lyrico. The soundtrack was only released in limited number in Japan, and can be difficult to find.
The last few years Eric and Michel have been focusing on their own musical creations. Recently Eric released Deep Brasil, the first in a series of music under the Deep Projects name. This series continues on in the spirit of Deep Forest, taking the music to the internet in an effort to bring the music making process closer to fans.
Michel has also been busy with his two new albums The Touch and The Day of a Paperbird. His new music continues his love of musical experimentation. For the first time, Michel adds his voice to a mix of genres from electronic and world music to jazz and pop, once again creating a new and unique sound.
Almost Tomorrow is the third full length collaboration album from Section 27 Netlabel founders Tam Ferrans and Andrew Paterson, under their Nonima & theAudiologist guise. This time around the sound is more melodic, and has a definite feeling of a complete and more mature sound than heard on the previous LP's "Dystopian Battle Hymns" and "Ceremony After Amputation". If you are familiar with their individual projects you may even be in for a slight surprise, as the tracks are not as beat driven like before, but are more atmospheric and sound, well... "bigger". In its 75 minutes, Almost Tomorrow takes you on a trip from the digital rain-soaked cavernous scraping in "Thoughtograph", the ethereal beat jittering of "The Colour of Rain", intercepted transmissions from unknown places in "Com-Intercept", "Ganzfeld"s huge yet strangely insect-like beats until everything you knew comes crashing around you in "Almost Tomorrow". Burning pianos, glitched out soundscapes and intricately programmed beatplay, this may well be their best work to date. Consider it the soundtrack to a rainy overcast day, but with just that glimmer of sunshine peeking from the clouds. "Almost Tomorrow" wears its heart on its sleeve.
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