This article was written by a University of Brighton journalism student who previously managed an independent music publication and interviewed UK and international artists. The interview was first published in 2020 and since has been revised for style.
Once upon a time…
In a far, far city of love, where the construction of a new world had just begun, a little star fell from the universe to us and perpetuated his talent in the history of art. Guillaume was his name — a change-maker in the industry of fame…
One move, step back, one forward, hips from side to side, hands above. When you listen to the hit of the 2000s Starlight, it becomes absolutely clear that the emotions of contentment overwhelm not only us but also everyone who may listen to this record, even now, for the 100th or for the first time in their lives. There is only one method that exists to ascertain that the record created is a hit: impressions. Whether the response from an audience is satisfactory or miserably unwelcome. Although by ‘audience’, we mean professionals or knowledgeably educated folk of one or another industry where you are aiming to be. Beyond doubt, for Guillaume Atlan, our January cover star, that is staggeringly awe-inspiring for many of us in the industry. He had an uneasy odyssey that eventually led him to the pages of our magazine. An enthralling narrative about The Superman Lovers will most likely fascinate you.
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Chapter I. Becoming Himself
Growing up in Paris, the city of romance and daydreams, Guillaume, at the age of six, began to familiarise himself with Piano & Solfeggio at the conservatory, and eight years later, he had the knowledge and inclination to memorise. He quotes, “Then I moved to Acid Jazz,” and became a member of a funk band where he played the keyboard.
A diverting coincidence occurred when his uncle gifted him, for his 13th birthday, a CD of the new Pink Floyd album. The star recalls, leaving a comment that “At this time it was Momentary Lapse of Reason.” As luck would have it, he attended one of their concerts in France at the Château de Versailles. “I was so hypnotised by the show that I became a huge fan of Pink Floyd,” confesses Atlan, continuing, “This concert gave me another point of view on music. I knew I’d be doing this all my life,” as it was an ‘obvious’ decision.
When Guillaume was at university in his early 20s, his friend invited him to a concert where his friend’s friends were playing at the school party. “What they are doing is incredible. Only two of them are on stage, playing using only electronic music instruments,” Atlan’s friend said thrillingly. After they had a chance to catch the band in the act, they both jumped with excitement at a new sound that was yet to be discovered by the masses.
“In 1997, it was an amazing luxury appliance to have on stage! People were looking at them, like… WTF… And those guys, playing at my university, were only Daft Punk,” recalls the interviewee. He was so inspired by the show that the idea of purchasing one of those machines was sown in our Starlight composer. “These guys were the first band in France to make music in their room and didn’t need any big studios or big labels, etc.”
He also spoke briefly of how they proved to him that it wasn’t necessary to be directly connected to the music business, have enough money to pay for studios, and release the music he wanted to. When he decided to drop out of university, the first person to whom he broke the sudden news was his mother. “I even remember her face that day!” he recalls. “I told her that I’d decided to stop my studies to make electronic music.” She replied, saying, “It’s a marvellous idea. But you’re going to do it out of my apartment, like the rest of your life. Goodbye.”
He left home and stayed for six months at a friend’s house before securing his own place. “I decided to borrow money from a mate and buy myself a sampler and a drum machine. I opened my own label and started to produce electronic music on vinyl under the name Stan De Mareuil.”
Chapter II. A Change
New beginnings and changes are always tough. Memories become mixed with a spiritual cocktail of melancholy, especially when we hear disapproval from our loved ones. In spite of that, without a doubt, we should thank them even if our way of thinking is dissimilar to theirs. Without these harsh choices that we make, we would never find our true selves.
Two years before the end of a decade, in 1998, the duo School with Stefan Lebenson was established. As you may guess, it was his friend who had invited him to the Daft Punk concert mentioned earlier. They managed to create six demo tracks and shared their music with some friends. “One day we were at a vinyl shop in Paris, and one of the guys working there asked us if we produced music.” They introduced themselves and informed him of what they had been doing recently. “He really liked it and told us that he was also working for an English music label called Cyclo.”
This label was already legendary in the genre of house music because all the pioneers who were living in Chicago were releasing records on it. Philippe Marshall, CEO of Cyclo, signed these upcoming stars and helped release their first track. “Then I started a new solo project called The Supermen Lovers.”
Chapter III. Before the Storm
Not everyone has the chance and luck to succeed. For some, it takes years, decades, or even centuries. The only facet that differs and shortens the interval in time is how willing we are to devote ourselves and bond with our ambitions, dreams, goals, or desires. Without a doubt, the project The Supermen Lovers was a success.
As a matter of fact, the song Starlight was assembled and later recorded in a small, one-room apartment. “One day I was working on a little loop I found, and I began to build the drum with bass… and suddenly… all the melodies arrived in a snap, just as if God touched my shoulder with his hand. Those melodies appeared in a second, and I will always remember that moment for the rest of my life. A huge sensation of happiness submerged me. It was big. I cried because of happiness. But since that day, I want to feel those few seconds again… I need it, and since that day, I’ve been chasing it.”
It is his natural ability to develop a new concept from scratch. Monsieur Atlan has undoubtedly been gifted with a flair for pushing boundaries, connecting the world of French music with a classically British sound. With the help of one of his friends, Mani Hoffman, who back then was singing just for fun, accepting the offer to record his voice for The Supermen Lovers’ Starlight song was the right choice. “He had a voice just like Stevie Wonder,” claims the artist. After co-writing the lyrics, they both proceeded with the recording process without hesitation.
Chapter IV. A Star is Born
The independent release of two thousand distributed vinyl copies under his own label in the 2000s sold out within hours in vinyl shops across France. Even though distributors demanded more copies, the young and rising Guillaume did not succumb to fame or profit. He said, “I said NO. We will wait.” It was a smart move, allowing people to appreciate his work even more. “Understand that at the time, nobody could download the track. No SoundCloud, Shazam, iTunes…”
As is often the case with the smartest people in the world — they win. “People began to go crazy, and all of Paris was looking for the record. For the first four months, I did nothing. I let the track become a huge mystery. Then some guys from the United Kingdom started calling me, asking, ‘Is this you who did that song?’”
He finally agreed that it was the right time to be signed and officially release the song. “I went to see all the record companies in Paris, and only one decided to release it. It was Sony-BMG.”
It is always interesting to know how those who succeed feel when they are being chased by luck. “It is a strange thing because, with a hit, the song doesn’t belong to you anymore. I remember when I came to do a week of promo in London, Starlight was absolutely everywhere. In the cab: Starlight. In the shop: Starlight. At the hotel: Starlight… completely crazy.”
Furthermore, he appeared on Top of the Pops and did a short interview for the BBC. “The only sentence that comes to me is ‘Strange feeling.’”
It is a well-known fact that many musical duos usually end up parting ways, but Mani and Guillaume proved to be the exception. “He was my friend before Starlight and still is,” he responds to the question about their friendship. They are very different from each other and don’t listen to the same music, the artist explains. “It was hard to think about a follow-up together.”
The era of the Internet knocked on the door and entered without an invitation. You might also say that the ‘music budget’ left the chat room. “I contemplated the end of the golden age of the music industry.”
The artist adds that labels were “so rich, at a level you cannot imagine. They were spending so much money on nothing. Now, they won’t even offer you a cup of coffee if you go there. Not that they don’t want to — they just can’t.” He confessed that for small labels and independents, like himself, having control now is a huge power compared to the 90s and early 2000s. “I lived through the very end of the golden age in the music industry.”
The system has collapsed, slowly pulling major companies down with it. “We can promote ourselves and release exactly what we want. I agree that money won’t arrive so easily in your pocket, but I have always believed that all kinds of markets must regulate themselves.”
He goes on to share that musicians from three continents — Australia, Western Europe, and America — are struggling. He notes the role of big streaming music services, which have made music less valuable than before 2002 and have taken away musicians’ chances of earning enough money to live from what they create.
Chapter V. In a Harbour of Prosperity
Touring around the world, creating and collaborating on different projects is the lifestyle our music legend thrives on. The limelight is often interpreted as the world that opens up to a performer, representing absolute luxury and VIP status. However, there are more wonderful valuables that are far more important.
For example, to inspire himself, Guillaume enjoys walking in Paris, proudly mentioning places such as, “La Butte Aux Cailles, which is a little Parisian paradise that tourists never hear about. And it’s a good thing. It looks like Montmartre but without the crowd. The restaurants are great, and the vibe is real. I also like to walk around Saint Paul by the Seine.”
Since social media changed the way we wake up every morning, it has not affected Atlan’s everyday life at all. “Honestly, I don’t care. I do it because I have to. Keep in mind that I am making music, and being big on Instagram doesn’t bring anything. I prefer to be big on Spotify, YouTube, Deezer, Pandora, etc. Personally, to me, Instagram is for photos. I am not a photographer or a model. I prefer people to listen to my music rather than watch me taking a shower or eating burgers.”
For upcoming artists, he advises them not to become arrogant after writing a full album or release. “It’s a long way, and you evolve all the time. I think that ‘doubt’ is the main ingredient. If you don’t doubt your music, you make or create rubbish. You don’t evolve or progress. Doubt makes your work better every day. It pushes you to listen to other artists, and it subconsciously forces you to ask yourself why these artists are succeeding more than you. It’s a real mental process.”
We discussed his opinion and thoughts on this century of big changes. “I know only the last 20 years of the past century. I grew up without the Internet, without all the social media or dating apps. Back in my day, when you wanted to meet someone, you had to move your arse. Now it’s much easier, that’s for sure.”
As for the changes Guillaume would like to see, he wishes for “more love, diversity, more parties, more of all those things that bring happiness to people. Less lies, fewer bad faces, fewer people who walk slowly diagonally in the street and don’t let you pass. Better drivers and so on,” he says.
