try to hold on to you - AN INTERVIEW WITH Sebastien Blanchon A.K.A. N'Zeng
Jack: What inspired you to start making music? Any inspirations/influences?
N’zeng: I was born into a musical environment. We listened to all kinds of music at home, I went to concerts. When I was a kid, the French TV variety shows in the 80s, with both French and international musicians playing live, made me want to be a musician. I wore a headset, listened to my parents' vinyls, and imagined myself on stage. My folks even had disco lights! One day when I was a teenager, a saxophonist friend of my father's handed me a cassette . He had written on it: “ If you don't like this – well, I just won't be able to explain it!” He had copied two Miles Davis albums on it. It was love at first sound! The amazingly expressive trumpet, the modulations in mood and emotion, they just carried me away. I had an eclectic range of influences : funk, jazz, hip-hop, electronic music, rock – artists like James Brown, Igor Stravinsky, John Coltrane, Lalo Schifrin, Bjork, Beastie Boys, Portishead, the French singer-songwriter Serge Gainsbourg, and so many others.
Jack: What drew you to playing the trumpet?
N’zeng: In the beginning, I really liked the drums, but the neighbours wouldn't have been too happy about it. My dad and grandad were trumpeters. They played in a local brass band. By the time I was 8, the die was cast. I wanted to play the trumpet. I nearly gave up around 12. Metal braces on my teeth was making playing excruciatingly painful, but I got huge encouragement from my teacher and parents, and somehow hung on.When I was still very young, together with my dad, I joined an amateur group at Saint-Etienne in which miners and children of miners were playing. That whole environment made a great impression on me. I was totally fascinated by the trumpet as an object in itself, although I guess the fact that it was an instrument that carries a tune had something to do with it. By the age of 18, I had decided that I would do everything I could to make a career of it.
Jack: How did you meet the Gorillaz and end up on the track?
N’zeng: It all happened so fast. Damon and Jamie had to be in Paris to finalize ' Désolé'. It was very last minute. They wanted to record a French choir, - and also add some trumpet parts. Their manager contacted a manager I know, asking for someone to advise them, and next thing I knew I got a call. What a surprise! I mailed some samples of my work, and they liked them. I was asked to keep an evening free a few days later. It was all rather incredible, I was so very pleased to have the opportunity to work with them.
Jack:
What did you think when you first heard the song, and what was the vibe you got from it? How did it make you feel?
N’zeng: I discovered the song only when I arrived at the studio. I wasn't expecting anything like it from Gorillaz, but quickly became aware of something very playful, and warm, with a really good vibe. I thought it was a brilliant idea, having Damon's voice, in French, with its English overtones, alternating with the amazing voice of Fatoumata Diawara. I remember being really excited about the whole thing, and at the same, time, a bit stressed out: in spite of my experience, there was a lot at stake. Then I just got on with it, concentrated on the music and learnt my part.
Jack: Tell us about the recording process for “Désolé.” Did Damon give you any sort of instruction for what to do? What was the session like?
N’zeng: There was a warm welcome at the studio. The French choir were being recorded on the song the first time I heard it. All that was left was for me to record my parts, and the piece would be finished. Damon told me about the song in front of the studio speakers. There were existing brass parts made with a plugin (synthesizer). I had to play them again and add to them so as to create a kind of magma, a molten lava, if I can call it that, of brass sound. Then I went into the cabin. I knew my pieces by heart, I played what had been decided, and also suggested things, using the trumpet and the bugle to get variety of color.
Jack: Oh wow, can you remember the studio session to a tee?
N’zeng: Oh, yes. As if it were yesterday! For me, it was an exceptional artistic experience, as well as a supremely human one: they are such lovable people! We tried out what I was to play a few times. The team was really cool and at the same time, several voices were coming through on the talkback, but it was always friendly and constructive. Damon and his arranger came close to me while I was recording to give me some direction as I went along , because at a given moment, there was no tempo or discernible rhythm to guide me. Then afterwards, Damon told me to improvise on the piece: while I was playing, I saw him jump behind the glass. I still feel moved by that: he was really happy with it. They kept it going at 2.51. Jamie was later inspired by that when the video was being made.
N’zeng: I was born into a musical environment. We listened to all kinds of music at home, I went to concerts. When I was a kid, the French TV variety shows in the 80s, with both French and international musicians playing live, made me want to be a musician. I wore a headset, listened to my parents' vinyls, and imagined myself on stage. My folks even had disco lights! One day when I was a teenager, a saxophonist friend of my father's handed me a cassette . He had written on it: “ If you don't like this – well, I just won't be able to explain it!” He had copied two Miles Davis albums on it. It was love at first sound! The amazingly expressive trumpet, the modulations in mood and emotion, they just carried me away. I had an eclectic range of influences : funk, jazz, hip-hop, electronic music, rock – artists like James Brown, Igor Stravinsky, John Coltrane, Lalo Schifrin, Bjork, Beastie Boys, Portishead, the French singer-songwriter Serge Gainsbourg, and so many others.
Jack: What drew you to playing the trumpet?
N’zeng: In the beginning, I really liked the drums, but the neighbours wouldn't have been too happy about it. My dad and grandad were trumpeters. They played in a local brass band. By the time I was 8, the die was cast. I wanted to play the trumpet. I nearly gave up around 12. Metal braces on my teeth was making playing excruciatingly painful, but I got huge encouragement from my teacher and parents, and somehow hung on.When I was still very young, together with my dad, I joined an amateur group at Saint-Etienne in which miners and children of miners were playing. That whole environment made a great impression on me. I was totally fascinated by the trumpet as an object in itself, although I guess the fact that it was an instrument that carries a tune had something to do with it. By the age of 18, I had decided that I would do everything I could to make a career of it.
Jack: How did you meet the Gorillaz and end up on the track?
N’zeng: It all happened so fast. Damon and Jamie had to be in Paris to finalize ' Désolé'. It was very last minute. They wanted to record a French choir, - and also add some trumpet parts. Their manager contacted a manager I know, asking for someone to advise them, and next thing I knew I got a call. What a surprise! I mailed some samples of my work, and they liked them. I was asked to keep an evening free a few days later. It was all rather incredible, I was so very pleased to have the opportunity to work with them.
Jack:
What did you think when you first heard the song, and what was the vibe you got from it? How did it make you feel?
N’zeng: I discovered the song only when I arrived at the studio. I wasn't expecting anything like it from Gorillaz, but quickly became aware of something very playful, and warm, with a really good vibe. I thought it was a brilliant idea, having Damon's voice, in French, with its English overtones, alternating with the amazing voice of Fatoumata Diawara. I remember being really excited about the whole thing, and at the same, time, a bit stressed out: in spite of my experience, there was a lot at stake. Then I just got on with it, concentrated on the music and learnt my part.
Jack: Tell us about the recording process for “Désolé.” Did Damon give you any sort of instruction for what to do? What was the session like?
N’zeng: There was a warm welcome at the studio. The French choir were being recorded on the song the first time I heard it. All that was left was for me to record my parts, and the piece would be finished. Damon told me about the song in front of the studio speakers. There were existing brass parts made with a plugin (synthesizer). I had to play them again and add to them so as to create a kind of magma, a molten lava, if I can call it that, of brass sound. Then I went into the cabin. I knew my pieces by heart, I played what had been decided, and also suggested things, using the trumpet and the bugle to get variety of color.
Jack: Oh wow, can you remember the studio session to a tee?
N’zeng: Oh, yes. As if it were yesterday! For me, it was an exceptional artistic experience, as well as a supremely human one: they are such lovable people! We tried out what I was to play a few times. The team was really cool and at the same time, several voices were coming through on the talkback, but it was always friendly and constructive. Damon and his arranger came close to me while I was recording to give me some direction as I went along , because at a given moment, there was no tempo or discernible rhythm to guide me. Then afterwards, Damon told me to improvise on the piece: while I was playing, I saw him jump behind the glass. I still feel moved by that: he was really happy with it. They kept it going at 2.51. Jamie was later inspired by that when the video was being made.
Jack: There is often a lot of mystery surrounding what Gorillaz songs are about, what do you think “Désolé” is about?
N’zeng: I wouldn't want to speak on their behalf, but on this song, it seems to be a group effort by different artists, composers and arrangers, a sort of puzzle that Damon solves by having the last word. I feel that the song comes from the friendship between Damon and Fatoumata. There is some creativity in the studio, and they give themselves a lot of freedom. In any case, that was my experience. We tried out quite a few things, I was able to pitch in my ideas too. That is also one of the reasons why I do this job, to have these moments. But in the end, Damon is the captain at the helm: he always knows where he's coming from.
Jack: Gorillaz always tour with a big cavalcade of musicians and guests, any plans to join them at any shows this year as a horn player?
N’zeng: It’s true they often work with many different musicians. It's great that they want to share their adventures and their tours with others. Not all artists of this level of success want to do this. Gorillaz has a truly generous approach. Of course I would be delighted to join them in a concert. It would be a hell of an experience to be able to play this piece live, with them.
Jack: You mentioned to me that you are a fan of Gorillaz, do you happen to have a favorite song or album from the band?
N’zeng: Yes, it's true. I've been a fan from the very start. The concept , with the visuals of Jamie Hewlett, is absolutely stunning. Not easy to choose a favorite title. I would say, maybe ‘Clint Eastwood' with ‘Del The Funky Homosapien'. I also love ‘Rock Da House’, I really like the trumpet and brass parts. When it came out, I was dazzled by the mix. During my career, I've been influenced by the way they mix instruments electronically. My favorite album is ‘Plastic Beach’. The choice of features , the mixing, strings, brass, the arrangements and production are all supremely successful.
Jack: What’s next for you? Any plans to work with Gorillaz or Damon Albarn again?
N’zeng: I hope to be invited to work with Gorillaz or Damon in the future, of course, it would a real pleasure. A little bird told me it might happen. Let's see. I am currently working on a solo album. Another project is to compose the music for a show by the dance company ‘Arcosm’ – and at the same time, I'm finishing the composition and production of an album in a tribute to trip-hop, a music style that I have listened to a lot.
Jack: For those of our readers who aren’t familiar with your work outside of Gorillaz, what do you wish to tell them? Any specific songs or highlights you want to share? What do you want the world to know about N’zeng?
N’zeng: I am a French trumpeter, composer, keyboardist and producer, living in Paris. I am also known by the pseudonym N'zeng. I studied classical music and jazz at the Conservatoire de Lyon. I am also a DJ and a scratch player. I was one of the original members of the French group ‘Le Peuple de l’Herbe’ We notably made the jungle song ‘No Escape' with UK Apache, and collaborated with Beth Gibbons from Portishead with whom we covered ‘Glory Box » and ‘Roads’ here!
Since then, I have collaborated with artists like Agoria, Rone (featuring Baxter Dury), Madben. I regularly feature on stage with the beatmakers 'L'Entourloop'. and also on their albums, particularly on this track that I co-wrote with them here!
I compose music over images for short films, documentaries, and advertising. There is a summary on my Vimeo account here!
My last featuring released is on the song ‘Angela’ with Peter et Steven here!
My latest project album, ‘Mustang Force', in collaboration with Emmanuel Marée, ‘Hollywood Hustlers' has just been released. It is inspired by 60s and 70s soundtracks. It was conceived of as the original funk and rare groove soundtrack of a detective film or an imaginary detective series. Available in:
Vinyl
Digital
Teaser
Thank you so much for inviting me to do this interview – wishing Gorillaz fans all the best -
You can find N'Zeng on his socials here!
Website