Portrait : Glenn Prinz
DJ from Strasbourg, digger and vinyl collector since the early 2000s. Influenced by Laid Back, Larry Heard and DJ Bouto, he has the art of creating singular atmospheres.
Conversation with GLENN PRINZ
How and when did you start mixing ?
In the mid 1990’s, I was a teenager and I used to go on holidays at my brother’s Nicolas, DJ Bouto. He made me discover artists like Autechre, Jimi Tenor, Leila or Aphex Twin. The track Windowlicker that was edited in 1999 on Warp was a wonder of madness for me. At the same time, I discovered the techno sound from Detroit with artists like James Pennington or Jeff Mills. I was lucky enough to see them live at La Poudrière de Belfort, it was amazing. I was fascinated by the fact that two vinyls would play together. And so I started buying records, not to mix but because I liked them and I found it subversive to acquire some music that I could identify with when everybody was buying CDs.
The key points of your personal path ?
> End of the 1990’s, immersion in the party and electronic music’s circles in the virtuous triangle Mulhouse Basel Belfort.
> I then get to spend some time in the independent and specialized record shops, I think about Sonic Control in Belfort by Did’j’Did or Les Pinguins in Montpellier.
> 2001, I buy myself my first MK2.
> 2005, I mix with Gary Martin [Teknotika] at the Trolleybus in Strasbourg.
> 2009/2011, immersion in the studio La Bande Adhésive for the musical production and the creation of duo Alf Brozzer with Dj Bouto where we would combine vinyl mixing and live by ear synch.
> 2018, collaboration with theatre company Kalisto for the production of Oxygène by Ivan Viripaev. In december of the same year, I get a residency at K//ALT.
How would you define your personal style ?
I am trying to free myself from this question, I never liked labels. I find it interesting, in djing, to play with the different style in order to find a common thread. Tell a story. I insist on the fact that all my sets are played on vinyl, which implies technique and a vision. There is no room for confusion. Playing live with this kind of setting is a risk that I like to take. Making efforts is the only way to produce a good work, which for me is an equilibrium between tension and twists and turns. Mixing with vinyls is understanding a feeling. I defend a now-how.
Your favorite settings ?
> In 2010, for Ososphère with the configuration Alf Brozzer, I was impressed by the dimension of the event and the power of the sound.
> June 2018, at the DMC Festival Mécaniques Urbaines (Mulhouse), in an open-air setting for the presentation of Oxygène with the company Kalisto, a beautiful adventure.
> Summer 2018, I opened for Kim Ann Foxman at Kalt, I love this artist, it was a honor to share the scene with her. We think about Hercules and Love Affair too. A night of colors.
> My last show at KALT for the night with Marcel Fengler, I played All Night Long on the second floor, the connexion with the audience was incredible.
> In musical production with Arco Trauma. We just remixed a track from Jamie Paton called Syrens.
> Still in production, I am working on three tracks with musician friends.
> I’d like to free up some time to pursue my vinyls collect.
> And to keep on working on my technique and imagination to provide original and powerful dj sets so we can all vibrate together.
Have fun, seriously, life is short.
Also, you should listen to Carlos Souffront -Techno Ruined My Life: The Hostile Ambient Takeover Mix.
Read Éloge de la fuite by Henri Laborit.
Take care of yourselves.