chrysalide (2011)

Your music aims to provoke, there’s no doubt about that. What exactly are your motivations with both Chrysalide and the collective consciences’ of the Audiotrauma collective?

{Syco} We are not here to entertain, but we are not here to lead an utopian revolution either – we are here to unplug a maximum of listeners. Even if it’s only one per show, it’s already a success for us. Our real challenge is to show all the people we meet that we can all still feel alive even if all the system tries to tranquillise the herd of sheep. We have to show how human consciousness is a real weapon to change the way of thinking!
{Arco} I don’t know, it’s like we have to do it. I can’t imagine myself wasting my life doing a job that i hate for a boss that I hate; art is a perfect way to resist without breaking bodies. It’s about a strong feeling and we express it.

What is it regarding the fusion of styles that drives your sound that you couldn’t achieve with hardcore, breakcore or noise alone? Is this, as well as the english language, an attempt to appeal to a wider audience?

{Syco} Firstly, we are very open to lots of music styles. It could be boring to listen to only one kind of music, and certainly unproductive for musicians too. Urban music styles are definitely a fusion of many sounds and many types of rhythm, that’s why i think samplers represent a real musical revolution, and that’s why we use a lot of samples. About the english language, it’s only a way to be understood by as many people as possible and also cause it better fits to scream and spit our revolt feelings out!
{Arco} Music purist styles are boring; we just try to make what we really would like to listen to. It’s not about folklore for us, it’s about exploring any & every kind of noise, and spit out what we really enjoy.

Both Audiotrauma and Chrysalide are very socially and politically motivated entities. With Don’t be Scared, It’s About Life specifically, would you consider this to be a generic concept release based around world issues, or is there more of a defined message you’re trying to get across?

{Syco} For some time, we have been trying to cross the borders of our cultural roots. We don’t want to be extreme just to be extreme, and we don’t want to only be reputable in the digital dark extreme scene. It could be boring actually. We want to meet other scenes, other people, other ways of thinking and different states of mind. It’s quite hard sometimes to succeed in seducing the audience and make them want to get interested in our work. Most of the time, the other audiences (apart from the industrial scene for example) don’t understand very well why we are dirty, violent and angry. That’s why we use the title of our new album to explain our feelings. Don’t be scared my friends, you know, we only talk about modern life, your life in the world you build!
{Arco} Our art is less dark than it seems. A riot is not sad. We don’t have to be scared about the expression of indignation. We aren’t robots yet. Today, when you’re a bit aware and you feel a bit concerned of what’s happening all around us, how the new economic dictatorship grinds everything, anger is a very sane feeling.

Lost in a Lost World has very similar, blunt themes as Don’t be Scared, Its About Life. What would you say has progressed lyrically from that album? Could this be considered a sequel or sorts?

{Syco} I think that the lyrics of the new album are more introspective than Lost in a Lost World lyrics. We don’t only want to criticise the world we live in, but we also criticise ourselves cause it’s your world but it’s ours too. The world is an addition to states of mind, ours included and i’m quite sure that the next album will be more and more about us than our 2 EP’s and 2 album’s. The world is sick, cause we are too. We are sick cause the world is sick, so we have to look inside ourselves to understand how it works.
{Arco} Even if we didn’t give a shit about the fall of our society, it doesn’t mean that we are not conscious that we are a part of the problem. Most of the time our lyrics talk about our doubts, our questions, our deceptions… and I think, it’s more complicated than just a political point of view. We try to create some characters and to make them speak, to make them speak to each other. It’s a pretty dangerous, scary, schizophrenic game but, shows after shows, play all of them, all of me, helps me to be more open minded, more human and more alive.

The philosophy of your messages can be strong at times. Do you ever think this indignation could come across as self-righteous or preachy?

{Arco} Absolutely! But we take the risk to be preachy. When we talk about a feeling, we just dive inside the idea and we really try to be spontaneous and honest with ourselves. Sometimes it sounds simple and childlike. So what? It doesn’t mean that it’s not real. We really want to be understandable, that’s very important to us. That’s why our message sounds very harsh but if you read the lyrics carefully, it’s more about wondering than preaching. We like to annoy, to disturb. Again, it’s not about entertainment for us.

You’ve mentioned other audiences not understanding your aggression. Are you able to persuade audiences better once they see you perform? Are there many theatrics involved in a Chrysalide performance?

{Syco} To be honest I don’t know. I guess the only way to touch the audience about a message in our zapping and digital information society is to do it with a form of global art. Not only shows or productions, but with all the media’s. Spread a virus by any means we can, but it takes time and work to do it.
{Arco} Definitely, performing on stage is the best way to make the audience feel what we feel inside, to share our states of mind. Finally, it’s easy to create music. Performing on stage as often as you can is another problem. It’s another dimension. It makes your speech real and we really love it. We really feel that sometimes something happens, like a little riot. In the world we live in, it’s important to go back to the real, to the sweat and blood actions. It means something.

What do you use to create your music? Take us through the process of your production / writing stages.

{Syco} To start an album or a track, we have to talk a lot, and a lot and a lot. Half of the working process is upstream during long talking between the 3 of us. I show my ideas and texts to Arco and Amnesy, we choose the theme and the colour of the album and Arco, as a magician, starts to produce the music. Most of the time, he works alone and shows them how it works.
{Arco} I’m not a synthesisers collector. I work on computer with just few basic sound edition programmes. I spend a lot of time studying, assimilating a lot of different kinds of music to learn and break any styles, any codes. I’m not a purist. In Chrysalide, we really want to mix a lot of different influences. That’s why we like the word “cyberpunk” to describe our work, ‘cause it doesn’t really mean something in music; it’s more about an attitude, a philosophy. We are still free to share what it means for us.

You all perform under separate guises outside of Chrysalide. Is there any particular reason for these alternate musical outlets? Do you believe they achieve anything beyond Chrysalide’s potential reach?

{Syco} In my case, I work in Republic of Screens with my partner Nasty Bug. It’s only a side project to spend the time between Chrysalide activities. It’s more minimal than Chrysalide and I don’t expect anything else except fun and, again, to spread the virus another way. Nothing else…
{Arco} In Chrysalide, we try to make something to have “fun” and to live a sort of a trance with the audience. We need big sounds, rhythms, basses, distortion and screams to make “it” with the people. With my solo project, Sonic Area, it’s more experimental, introspective, intimate, deep, complex and poetic; it’s my “absolute freedom” area. I need it even if sometimes it makes me dizzy. It’s a good way to lose and explore the limits of my imagination, the “message” is more subliminal.

How is Audiotrauma & Chrysalide’s reception in France? Do you have much of a fan base in Europe?

{Syco} For Audiotrauma, I guess that’s hard like all the alternative labels…less copies sold, in addition less releases…but hopefully after years and years we’ll keep a group of hardcore fans who give us the force to continue. It’s a bit different for Chrysalide cause, it’s the opposite in fact, we get more and more fans, releases after releases, and especially shows after shows…it’s hard to do and promote an alternative culture in the country of the “French touch” and David Guetta’s entertaining way of life, but our activism is not a choice, we just do it. This situation in France could explain why we play mostly outside our country. We want to meet all the revolting audiences across the world without borders and limits.


Arnaud Coeffic, Sylvain Coeffic, & Yoann Amnesy are Chrysalide
Other groups include Sonic Area, F.Y.D, Flesh:On:Steel & Neon Cage Experiment
Labels: Audiotrauma |