It’s fair to say that Molly is at the peak of her powers. As a resident at Rex Club, Molly has performed at almost all of the most important clubs in the world, sharing the stage with the leading names in house and minimal.
After playing out in Paris for friends, Molly’s journey into electronic music started on the other side of the booth. As she tells us in our interview, her role as the Communication and Press Director at Rex Club gave her vital insight into the industry. As her involvement with the club became grew, Molly began to help out with the programming and began playing at Rex regularly.
As her reputation as a selector grew, it got to the point where Molly couldn’t handle two responsibilities. Taking a break from the day-to-day involvement allowed her to concentrate more on being an artist, spending time in the studio that leads to releases on Rekids, All In and yokaku sub-label AKU.
Can you tell us how all of this started and evolved over the years?
I don’t really know how all of this started, I mean, I never intended or had the career goal of being a DJ. I was working on the other side of the industry but my passion was always the music. I saw how difficult it is to build and maintain a full-time career, so I was happy to keep music as a weekend activity, playing in bars in Paris for friends.
Little by little things became more intense. I’m the kind of person who goes with the flow and sees where the ride takes me, I never expected to be where I am right now.
When did you decide that it was time to dedicate yourself to the music?
Being on the other side of the industry definitely helped me do what I do today. I was working as the Communications and Press Director at Rex Club and was becoming more involved in the programming. I started to play in the club more and more. I was loving it but it was taking its toll on my other job as well as my health and social life. When you do two things at the same time and it’s not working, you can’t be focused 100% on what you do.
After a couple of years, I felt like I needed a professional evolution – to do something different. I decided to take a break and take my time to find another job but then everything started to go better than expected. I began to work in the studio and I loved it! That’s when I started doing music all the time…
Tell us about your early productions. Your first releases were remixes…
My early remixes on Rekids and All In were done while I was still working two jobs. It’s not easy to find the time to do music and focus on your own sound. This is why I was only doing remixes.
I had my own label project for a while but I promised myself I would only do it when I had the time to focus on it, that’s when I quit my job…
Your label is titled ‘Récit de Voyage’, which translates to ‘Travel Diary’. What is the concept behind it and what can we expect in the near future from the label?
Like the name says, it’s a label where I sign music from my friends that I meet on during my travels. Each piece of music brings a story. I love telling stories in my sets. The up and coming RDV004 is an EP from Dana Ruh, with a remix from myself. I have also started some compilations, Récit de Voyage, and I’m actually working on the second edition. Besides that, I’m happy to announce up and coming release on Groovement label and there is another release coming out before the end of the year…
You’re also working on something in the studio with tINI, yes?
We are working on some tracks, yes, that’s true! We both need to find the time to continue but we don’t have any plans yet. Maybe we will release it on her label or mine, let’s see…
Speaking of tINI, can you tell us a bit more about how it started and where you see it going?
I really love playing with her. I have not played so many back-to-back sets in the past. It’s not very often when you find someone where you really feel comfortable playing with, someone who shares the same vision of music as you.
It started with an improvised b2b and we loved playing together so much that we decided to do it again at Rex, Robert Johnson, Sonar and in Chicago. Each time we play together we enjoy ourselves so much but we want to keep it special. We don’t have a name for it and I’m not sure we will take one. Right now we have a few gigs planned so let’s see where it goes! We don’t plan anything we’re just having fun…
Cargese Sound System is approaching its second edition under your artistic direction. Can you tell us about your relationship with them and what the festival means to you?
The festival has been running for 8 years. It’s a very small festival which has grown step by step. I played there four years ago and I fell in love with the island and became friends with the team. With my experience of programming at Rex, I felt like I could help them with it.
It’s sad but when you come from a location that is not so famous for clubbing, the bookers won’t reply back to your email unless they know you. That’s why I got involved and helped them the year after bringing dOP, Sebo K and Seth Troxler.
This is my second year working as ‘Artistic Director’ and I work closely with the team. This festival has become our little baby. The location is fantastic and the vibe is something different than what you find at any other festival. The crowd is mostly local (Corsican) and they are very open to the music. After three days, everybody knows each other and becomes a large family. There’s nothing better than dancing by the beach…
In the past, Paris has not been considered alongside the likes of Berlin and London. Things are very different now with artists like yourself, Apollonia, Mandar, Traumer and the yoyaku guys. Now the standard is very high…
France has always been important in electronic music, with the French touch. Maybe it’s more a question of trends. People now focus more on the French producers that you mentioned. It has always been about the U.K. and German artists but now we have got our sound back. I think it goes around in cycles but for sure, right now we have a group of very talented producers who are the next generation and they are going to kill it!
Finally, let’s talk about your record collection. What were the first records you bought and which one never leaves your bag…
Well, I’ve never counted my collection but I would say it is around 3,000 to 3,500. I had to sell a part of it as I do not have any more room in my flat. The first record I bought was Michael Jackson – Beat It and the one that never leaves my bag is ‘Round One – I’m Your Brother (Chicago’s Twisted mix).
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