Lobotomy Inc.: The True Jumpin' French Force

Met de bescheiden invasie van Franse (jump en techno) dj’s lijken de landsgrenzen tegenwoordig amper meer een drempel te vormen. Was het zo’n drie jaar geleden nog een bijzonder hoogtepunt toen de allereerste Fransozen hier als proef een podium kregen tussen de gevestigde namen uit dj-land, op de dag van vandaag domineren zij aardig wat line-ups van de betere jumpfeesten. En daarmee lijkt dit anno 2006 de normaalste zaak van de wereld. Met het binnenhalen van deze artiesten werd hun karakteristieke ‘French tek’ in de jumpkringen al snel een ingeburgerd begrip. En wie French tek zegt, zegt Lobotomy Inc. Niet geheel ontoevallig was het juist deze Jean Patrick Deconinck die begin 2005 als één van de eersten Nederland aandeed om zijn harde, maar typisch Franse stijl aan ons Nederlanders ten gehore te brengen.

Het is snel gegaan met deze nog maar 24 jaar jonge producer/dj. En daar is geen woord Frans bij! Jumpend Nederland kent hem natuurlijk al lang en breed van naam, maar toch blijft de man achter de schemerige artiestennaam voor velen een klein mysterie. Partyflock zag haar kans schoon en vroeg Jean-Patrick onder andere naar zijn ervaring met de Nederlandse en Franse dancescene, de verschillen tussen uitzinnige Fransen en feestende Nederlanders, het produceren en zijn toekomstvisie.

You were born in France. Can you tell us something about you growing up, your childhood and how it is like to live there?
I was born in Roubaix, a city in north of France. When you watch television over here there’s a big chance that you’ll see a lot of bad things about this place. At the time I was growing up in Roubaix it became dangerous to live in because more and more bad people got attracted to the city. So eventually my parents and I decided to move to a small town. Nowadays I live near the city of Lille (Rijsel), in Lambersart to be exact. It’s a very cool city to for the younger people to live in. There are a lot of shops, nice people and a lot of clubs in the surrounding area!

France is a big country. Is there a difference between the north and the south of France? Do people like other kind of music in the south compared to people in the north?
Yes, France is big. Well you can say that the north and the south differ from each other like black and white. I have lived in the south of France for about one year and I can say that you wouldn’t find any techno or jump in that part of my country. The people over there don’t even know what jumpmusic is. I once visited a club in the south and once I got inside I went completely crazy. No, I love the north of France. The weather is shit but at least the music is great, haha!

This particular visit was probably not your first contact with electronic music. When you were growing up, how did you eventually developed a preference for that kind of music you are focussing on nowadays?
It started when I was about twelve years old. At that time I really loved to listen to the Thunderdome-compilations. When on one day my brother bought me my first compilation I immediately fell in love with it! This was the kind of music I was looking for. It appeared that I was the only one at school who listened to hardcore music, but that wasn’t a problem at all. I just wanted to be different because a lot of people are listening to the same music.

Later on I discovered the club scene. My very first discotheque was Le Cap’tain in Belgium. The thing I liked very much at that time were the records with different types of melodies the dj’s played over there.

How did these experiences influence the music you have made? And how would you personally describe your style?
What really influenced my style of producing music is hardcore. I wanted to make jumptracks with hardcorekicks and some trance-like parts for building up the climax. Now and then people said to me that I have my own style, they called it “Lobo-style”!

In Belgium jumpmusic was hot in the years 1997 to 2000, after this period it became less popular. Can we say that the French jump / tek of the year 2002 / 2003 was the start of a jump ‘revival’? Why do you think this French jump / tek became so popular in the north of France and abroad?
Yeah, around 2002 a new generation of producers like Greg C, Seb B, Ronald-V and myself stood up and introduced a new style of music. The people enjoyed it from the start, because it is somewhat different then the stuff from the past. What also helped is that people felt that we (producers) made music just for fun and not for being big ‘stars’. But you know how it is like in this scene; people need new sounds and want to keep moving on. Today we are in their picture, tomorrow it could be others.

Your very first release, “The Test / Face to Face”, was a straight hit in France. How did you managed to get a release on the respectful Babaorum Records label? And how did you come up with the name Lobotomy Inc?
Before this happened I sent a couple of cd’s, with some new productions on it, to Babaorum Records once in a while. It seemed that it was very hard to get their attention, because I never got a reply. But this changed when I finished making “The Test” and spread it around. This time a lot of dj’s called it a ‘bomb track’. The response was tremendous, so I gave it another try with Babaorum Records and this time I got an answer back. It was a dream came true!

My artist name? Well that’s a funny story. I once was at a friend’s (Mr. Fillz) house; we first listened to some of my new productions. After a while we decided to watch television. We switched channels until we came across a medical program where doctors were performing a brain surgery called a ‘lobotomy’. Just look it up in a dictionary to find out what it means. Then you’ll see that that medical term perfectly fits my style of music.

Not only your solo-project Lobotomy Inc became a great success, other aliases like Dark System and Dark Dancer had their moments of fame too. Can you tell us what the differences are between your aliases?
Lobotomy Inc and Dark System are oriented on the same style of music. I just took an alias because at that time I was producing a lot and didn’t want to release too much under the name Lobotomy Inc.

Dark Dancer is a special project which I use to make tracks that are fit for warming up a set, tekclub style. As you probably know I have more aliases, which are projects together with other producers. Fusion is a cooperation with my friend Dinamik (Michael) and Ydnass is a project with another friend, Sandy.

Do you like the teamwork more or do you prefer to make music on your own? And can we expect some more from you and your cooperation with others in the near future?
I prefer to work alone, because I am not at my best when someone is with me in the same room. But producing with others is still something I like.

There are some productions ready for releasing. In September I’ve got a new release on Jumpforce Traxx under a new alias: Speed Maniac and one on Strictly Jump Records: Dark Spirit. Later on I’ll release a vinyl under the name Da French Style. And last but not least a new Fusion is coming up, it is planned for January 2007. Michael and I are also working on a new Lobotomy Inc vs. Dinamik. Also, my intention is to create several new cooperations. I’ve spoken to Dr. Rude on MSN a couple of times about this. He’s a nice and very talented jumpartist too. So my feelings about him and me working together are good. This could work out very nice.

Is your “Lobo-style” changing, because people sometimes say that your newer productions are sounding harder and less special compared to your earlier work? Could you explain us what the difference is between your earlier and your latest productions and can you understand the remarks people have?
Yes, my style of music has become a little bit harder over time, but I think that’s normal. This is something you’ll hear in all kinds of music. Music always gets a little bit harder in time. I’m aware that there are people who like my older style more, that’s why I came up with the Speed Maniac tracks. I’m not releasing them on my own Lobotomy Records, but on someone else’s, because this is not the direction I want to go with it. The future Dark System records will also be in the older style. So this is an example that I’m willing to listen to the ‘critics’ and make music for them too.

As you just said you got your own sublabel, Lobotomy Records, under Babaorum Records. We can imagine that this had to be a difficult but wonderful thing to achieve. But if you do not want the ‘old’ Lobotomy Inc-style on it, what is the kind of sound you are aiming for?
I had to fight really hard to get my own label, because at first the Babaorum managers thought my style was too hard and too different from the rest of the label. I kept trying to convince them and eventually they gave me my own label on which I am free to go my own musical way. The way I walk is the way of the “Lobo-style”; it stands for tracks with hard vibes and from time to time a somewhat commercial input. I absolutely don’t want to produce the same style other labels are doing, I’m just doing my own thing. And with that I’m always trying to give my fans the best.

Greg C recently said in an interview that Babaorum Records tries to keep the quality of its releases high. With the current remixing (e.g. the 2006 remixes) of older (Babaorum)releases, don’t you are afraid of a quality loss, because it is hard to make a remix which has the same level as its original?
I always try to keep all my releases for Babaorum Records strong and on a high quality level. As you might know I now work for Babaorum Records as a one of its managers, so I really want to do the best I can for it. Our purpose is to offer the people the best quality jumpmusic! With remixing the originals we just want to give these big classics a second life. Especially most of the younger people don’t even know the originals because they are just starting to discover our music. By converting the original tracks into a more present day and a more accessible form we see an opportunity to introduce these classics to these newcomers.

You started as a producer, but not long ago you began spinning records. First you had a live-act, but nowadays you do dj-sets only. What exactly did you mean with a ‘live-act’ and was it hard for you to master the dj-skills?
My live-acts only contained my ‘classic’ productions added with some of my productions which are going to be released in the near future. I prefer doing a dj-set because then I’ve got the opportunity to let the people hear what music I also like.

In the beginning performing for a crowd was not always the nicest thing. Because I was one of the younger, inexperienced dj’s in the scene I was pretty nervous back then. And to make it worse, there were some jealous people who kept watching me thoroughly until I made a mistake. The next day these guys post all kind of things on public forums about how bad you are. You can imagine that these things had a negative effect on my dj’ing. But nowadays I don’t care about how people think of me. I do what I have to do for my fans and that’s the only thing that counts! They like me for that.

On the floor French party people are frequently screaming like lunatics and totally going crazy when they hear a beat or record they love. We can imagine that these enthusiastic reactions are true moments of satisfaction for a dj. How do you experience these moments? Is this screaming something typically French?
Yes, I think that the French people are really addicted to the music. By screaming, jumping and going completely crazy they give back what the dj gives them. It’s a kind of saying “thank you”, it’s awesome and of course just like any other dj I love it.

The Dutch people are also real music addicts, but know much more about the type of music and the dj who's playing. They usually don’t scream but closely watch what the dj is doing. For example, when I clap my hands the Dutch people do that too. I have more fun and more interaction with them, that’s one thing I’ve discovered in Holland.

Talking about the differences between French and Dutch crowds, what precisely are the differences between the Dutch party scene and the one in your country? Is it true that there are almost no big Festivals like Hard Bass, Qrimetime etc.?
That’s totally correct. We can’t organise these big events because the people over here are truly loyal to their clubs. Once they have found a good discotheque they prefer to keep coming back to it rather then moving around looking for new places. It’s hard to describe, but when I was a clubber I was addicted to H2O Club with dj Vince (Binum) as its resident-dj. The wonderful club, the people going completely crazy, the dj creating a superb atmosphere... Everything was perfect!

I know some Parisians who tried to set-up a big event in Paris. This didn’t work out because I think they’ve run into more problems then only the solid club scene. In spite of the fact that my fellow Frenchmen are real party people they are real critics too. Big festivals in France… I’m still sceptic about that, but on the other hand why not try it again?

So what do you like most: dj’ing in your favourite French club or on a big Festival in Holland?
To say the truth I like playing on a Dutch festival the most. When I was younger I loved to watch party movies of big festivals like Mysteryland with big names as The Darkraver, Lady Dana, Zany etcetera. I could only dream about achieving the same as they have back then. And now I’m the one that stands behind those decks! French clubs are cool, but I’ll never find the things you have on those festivals. This is why I love your country so much.

Is it not annoying to drive all the way from France to Holland and back by car for a relatively small dj-set?
No not at all. When I’m on the road on my way to a party I always have my own ‘crew’, the ‘Lobo Team’ (Koya, Return Corp's and Dim3nsion), with me. We are always having a lot of fun while driving, so time and roads are passing by real quick. Performing in Holland is also something I look forward to. The first thing that comes into my mind when I enter your country is to enjoy the weekend. And because all parties and festivals in Holland are unique for me I try to enjoy these moments at a maximum. My friends are enjoying these events the same as I do. It’s nice to know that they are always with me, totally addicted to music, vodka and girls! Just like me. When we are back in France again, the first thought which comes into our minds then is: why can’t we stay in this country a bit longer!?

You have a job, you make music and you are performing each week. Do you have enough time to combine these three important occupations in your life? Are you not afraid that a shortage of time eventually influences the quality of your productions?
Yeah, these occupations are really hard to combine. During the week I work for Babaorum Records (A&R management) and in the weekends I do my deejay thing. So I don’t have a lot of time for producing. Sometimes I take some days off so I can spend them with producing music.
Time does not influence my way of making productions, I’m not a machine! When I’m having a bad day I stop producing right away. On a very good day you can work on about two or three tracks, but on a bad day nothing comes out of you. I’m not afraid of having a bad day once in a while; all artists have good and bad days I think.

So when you find some spare time for yourself, what do you like to do?
Nothing actually. I love to stay at home watching television or play computer games. Just chilling, nice and quietly.

Back to the music. It appears that the jumpmusic of 2006 is becoming more and more accessible thanks to happy bells and recognizable tunes/melodies and the like. Is it true that the real French sound (of 2002-2004) is slowly disappearing?
Music is a circulation, a cycle. Today most of the people like the happy sound, tomorrow they’ll like French tek again. People change their music preferences each day.

How does your future look like as for producing music, spinning at parties? Are there any big surprises your fans can expect from you, like producing music in a completely different style?
Jumpmusic is still going strong in the French, Belgian and Dutch party scene. So you’ll probably see me dj’ing there in the coming periods. But I have noticed that jump is spreading towards other countries as well. I’ve even been booked by Spanish clubs lately. You can say that jumpmusic has start travelling the world.

What concerning producing… I’m a big fan of trance music. When I’m doing the warm-up in a French club I usually play trance music. It makes me feel very good. In the future I’ll try to make a trance record, but that’s not going to be easy. I’ve made some tracks already but they have never been released. I still have to practice on this type of music so that I can deliver you the very best.

I actually have a little surprise for my fans. Together with my good friend Koya we are busy making clubwear especially for the jumpscene. The clothing is called “B-Live”. More info at our site, www.b-live.fr.

Which people played an important role in your Lobotomy Inc success story?
First, the party people! They give me the energy and desire to do the things I do. I really want to thank all my fans for supporting me since the very start of my career. _0_

Secondly, the deejays who helped me a lot in the beginning. I want to thank dj LB, dj Vince a.k.a. Binum, dj HS, Ronald-V & E-Max, Greg C and The Baba Team.

And let’s not forget my Dutch Friends: dj Ruthless, Looney Tunez, Bad Boyz and the BB Bookings Team.

Finally, can you tell us something about that ‘nichon’ thing you, Looney Tunez and dj Ruthless are sometimes joking about?
Haha, that joke originated when I first met Ruthless, the Looney Tunez-guys and GJ Warez just before I did my very first dj-gig in Rotterdam (Up). When my “Lobo Team” and I arrived in Rotterdam we were very pleased that our Dutch friends guided us very well. We hung around a little bit and at a given time I’ve learned these guys some French words, like “nichon”. In Dutch it means “tieten”, haha. So once in a while we say these words to each other, just for fun. In France it could be helpful for them someday too…