Revolution Remixes by CloZee is out on Gravitas Recordings featuring 10 remixes by 11 special artists. ill.Gates, AMB, David Starfire, Electrocado, The Digital Connection, Sixis, CharlestheFirst, Spoken Bird, Igama, and Flashball13+Messkla each provide a unique experimentation to the original by creatively enhancing the vision to take the listener on a new journey. Fueled by heavy bass, intriguing melodies, striking beats, sub focus, top-notch rhythms, multitempo nourishments and a solid amplitude of emotive highs, these remixes propel toward an exciting and memorable multi-genre furthering of the original Revolution.

AMB (‘Revolution remix’) enters the fluid tick-tock groove to the front with some intriguingly striking yet melodic beats which are then infused in deep sub bass world. CharlestheFirst (‘Path to Heaven remix’), a true prodigy, brings his lush and enigmatic amalgamation in a way that will uplift your entity like a mystery is unraveled. ill.Gates (‘Sankar’s Lake remix’) brings a solid dose of dope magic, a meditative outlook, and galactic bass blast into oceanic glitch depths through an empire of acid breaks. He drops soul, hip hop samples and a hypnotic vibe as he captivates through a deep sub double take. David Starfire (‘Aspara Calling remix’) brings about a psybass ignition through heavy sub bass growls and ancient eastern melodies. Electrocado (‘Anticlimax’ remix) has a vibrant and energetic electro vibe to it creating a progressive pace of pulsating beats.

Cover Art by Lulu Swallow

The Digital Connection (‘Revolution remix’) delivers a masterpiece composed of heavy weird bass and beats which have entered a next level of enhancement through an evolving DNA spiral of impressive composition and jawdropping soundscapes. Spoken Bird (‘Anticlimax remix’) blends an eclectic journey of future bass as he splashes waves of discovered portals into an imaginative landscape. Igama (Sankar’s Lake remix) soothes the journey into a downtempo state through organic rhythms as the guitar’s leading melody escalates into a psychedelic atmosphere. Flashball13 & Messkla (‘Revolution remix’) is a wild scratch of glitch mixed in with heavy dubstep beats which opens up room for more bass-fueled flames. Sixis (‘Revolution Remix’) flourishes the journey with spectacular sound design and psybass trances, a swirling ambience of pure echoing adjustments toward a clear kundalini rising.





What’s your live and studio setup like?

In my home studio in France, I have one Windows PC with which I compose most of my songs, with monitors Alesis mk1 active mk2, a MPK49 keyboard, 3 guitars (classical, acoustic, electric), a LAG ukulele, a subpac, a Prodipe microphone, and a bunch of objects to record. I use FL Studio to write music. To tour, I have a Macbook Pro with Traktor, a Traktor S5 as controller, and an Alesis Samplepad Pro for finger drumming/launch samples and percussions. I also use my guitar for some of my performances.

Gearing around your creative process in music production, what’s the first step?

It’s always different. Sometimes I can start with a guitar melody or rhythm, sometimes I start with a beat or a percussion loop. It can be also a chord progression, etc.

Which tools do you use to design sound?

I use FL Studio for everything 🙂 with the VSTs Harmor, Sawer, Gross Beat, Sakura, Sylenth, Miroslav Philharmonik, Gladiator, Exhale, the Fab Filters plugins and a bunch of other Native Fruity effects.

Before music production, there was the guitar. Do you feel that having an initial history as an instrumentalist has helped to carve an easier flow into music production? In what ways do both mediums resonate off each other?

It helps me a lot in a way because guitar brought a lot of new ideas while composing. When I’m struggling to find new ideas for a song, I just take the guitar and jam over it for a couple of minutes. Sometimes some melodies stand out. I can then write those riffs/notes in the computer and play it with another electronic sound, or keep them as guitar parts. I don’t think it helped me to learn how to compose electronic music on a DAW though, it’s really different. You can totally learn how to make electronic music without playing any instruments, but the instruments help in the creative process for sure.

When you DJ, what program do you tap into?

To DJ, I use Traktor. The new features are amazing. We can now launch STEMS files and use the Remix Decks to launch samples. I use the S5 to play. I made some of my songs as STEMS so I can mute the part I want and play them live by launching samples with the Remix Decks. You can separate one track in 4 stems (‘beat’, ‘bass’, ‘voice’, ‘instruments’ for example).

10636675_731064666968946_7669666274695630700_o Photo by Saucy Monster


Huge fan of the lush organic sounds in your music. How do you get these sounds? Are there any techniques, sources or libraries you would recommend? Any mixing tips for organic sounds?

When I don’t record them (foley sounds, objects, guitar, ukulele, flutes) I love searching on YouTube video to find cool organic sounds or world instruments melodies. Any traditional music from any country is a huge source of inspiration for me. I love to listen to world music, cut some melodies I find inspiring and modify them. The only difficulty is to find the sound in a good quality on YouTube and make it not recognizable haha. Sometimes it can sounds muddy or low quality so I put some EQ and reverb delay on it to make them sound more stellar. I like when it sounds real. I also love the VST Miroslav Philharmonik for multiple orchestral instruments and percussions. I recommend it!

If you were training a Jedi what would you have them do?

Open their ears and minds. Make them listen to all kinds of music and pick interesting elements in every songs, because all type of sounds can be awesome. I’m talking about real music, not music that has a main purpose to spread disrespectful shallow ideas or violence.

Otodayo Supa is one of my favourite labels right now. Can you tell us more about that crew?

Otodayo Records is the label founded by French producers Tha Trickaz in 2013, so it’s a pretty young label. They are mainly releasing Trap, Hybrid Trap, and Future Bass tracks. I’d say I’m one of the only artists who releases “chill” music there haha. It’s a very active label, they have tons of single releases each month and the “follow to download” system on their website brings a lot of new followers to the featured artists. They have 2 sub labels called Otodayo Ruki and Otodayo Supa. I’m part of Otodayo Supa, which contains the main artists of Otodayo (Tha Trickaz, Matstubs, Creaky Jackals, Scrvp, CloZee). We all help each other by reposting our tracks when we have a Otodayo Supa release.

What’s your biggest dream?

My biggest dream is to create a spectacular show, a real musical journey with performers, visuals, and sharing the experience with an amazing crew of people.

Photo by Curious Josh


Connor Crowe ‏[@c_crowemusic]:
What advice do you have for a producer that’s hitting the road for their first time?

Sleep! Eat healthy (it’s hard to follow but important). Don’t party too much even if there is always temptation. Be excited for every show because they are all unique. Don’t hesitate to talk with fans.

Necatuss ‏[@Necatuss]:
How do you build a faithful audience?

Send promo stuffs to people and bigger artists but don’t spam them all the time. Send new music to YouTube Channels, blogs, videomakers, dancers, anything that can promote your music. Let your fans use your music for their videos or personal projects. Repost other people’s tracks you love on Soundcloud. Don’t buy likes and followers on Facebook or Soundcloud. Interact with your fans on social media and meet them during shows if you have the chance.

Julie Be ‏[@chronfused420]:
What is your favorite baked good?

Anything with coconut and chocolate.

Tak ‏[@Takleberry21] :
hat are your biggest influences in your sound since your music is so unique?

Thanks for the compliment. Amon Tobin, edIT, The Glitch Mob, Bonobo, FKA Twigs, Vicente Amigo, John Williams, Banks, James Newton Howard, The Flashbulb, Tipper, Eskmo, Flume and many more.

Zi Golightly:
Do you foresee starting a music project with your younger brother? Is your family in general musically inclined?

Yes, I want to bring my 13 year old brother Thibaud on stage one day. He’s already working on it. Thibaud plays the guitar and the saxophone, produces on Ableton and records fun finger drumming videos!

Raghav Wagh:
Was there a piece of music that moved you so much you decided to pursue a musical career? And why bass or glitch hop music?

The album by edIT (as always) ‘Crying Over Pros For No Reason’ made me want to start music and to see some shows like Amon Tobin’s amazing ‘ISAM.’ Flume made me wanna start touring and be on stage…


Armend Kaleshi:
Do you ever use “step compression” rather than having just one heavy compressor?


Joe Salome IV:
What is the music industry like from the view of an up and coming female producer?

As any other up and coming producers, I feel like I have a lot to learn about this industry. It’s big, it’s very tough, but I have a goal, and I’ll achieve it no matter what. There are always people or organizations which are trying to take advantages from your work and art, but I’m learning new things every day, and I feel more and more strong and confident about myself and my music.

Daniel Huval:
What do you look for in a good snare sample/a good snare layer?

The realness of it, and the fact it sounds organic.

Bradley Luhn:
What made you dive into the crazy world of electronic music?

edIT (from The Glitch Mob), Bonobo, FL Studio and my guitar.

Connor Colburn:
If you could only use one for the rest of your life, saw or sine?


Jana Tran:
Where do you see yourself in five years?

I see myself living between France and the USA working on the new CloZee and CloZinger live shows with some awesome people. Also I’m working on beats for Banks, FKA Twigs or Bruno Mars. At least that’s what I wish haha.