Between electronic shadows and cinematic textures, this new album from QUENUM draws its influences from the likes of Massive Attack, Archive, and Burial. Started and produced in London, it reflects a change of time — both in the climate and within.
This project represents a personal and artistic turning point for QUENUM. He wanted to experiment with new ideas, not necessarily music for the club. The album was created in close collaboration with his son Zac, a talented musician who contributed both as a singer and instrumentalist on several tracks. They shared wonderful moments creating this album together.
He also worked hand in hand with his long-time friend Christophe Calpini, who played a key role in mixing and in developing the textures and atmospheres that shape the album’s sound. The result is an intimate, personal, and timeless journey, deeply rooted in the now.
A pioneer of electronic music, QUENUM has shaped the global techno and house scene for over twenty years. His iconic track Orange Mistake (2001), co-produced with Luciano, led to the creation of the legendary Cadenza label. Always curious and exploring new sounds, he remains a key figure from underground clubs to the world’s biggest festivals.
Questions and Answers
3 FACTS
1. Vinyl, born in 1949, became the first true DJ tool for mixing and hands-on creativity.
2. A track’s BPM shapes the crowd: slow vibes calm, fast beats ignite.
3. Scratching, invented in the Bronx in the ’70s, turned turntables into instruments
11 QUESTIONS
1. What is the biggest inspiration for your music?
My father was my first and greatest inspiration. He introduced me to music, and it was with him that I bought my first vinyl records. This emotional and family foundation shaped my passion and my intimate relationship with music, which has never left me. But my inspirations don’t stop there: dance, theater, art in general, and my travels deeply fuel my creativity. Anything related to expression and movement is a constant source of ideas and energy for my music.
2. How and when did you get into making music?
I wanted to make music to express myself, to share my ideas and emotions. At the beginning of my DJ career, I was frustrated that I couldn’t create my own tracks with my own sound identity.
I really began producing when I arrived in London in the 1990s, in Brixton, where I worked in a studio. That’s where I met Paolo Nascimento, who became my partner and with whom I founded the label Access 58. This adventure opened the doors to production and the London underground, at a time when the electronic scene was thriving.
Since then, I’ve never stopped creating—whether through my own productions or by launching new labels like Num Records, Mutant Soul, Azimute, or Cadenza with Luciano. These projects allowed me to explore different facets of electronic music, from soulful house to more experimental textures, while building a sonic universe that is uniquely mine.
3. What are 5 of your favourite albums of all time?
Arthur Russell – World of Echo
Fela Kuti – Expensive Shit
Miles Davis – Bitches Brew
Stevie Wonder – Journey Through the Secret Life of Plants
U-Roy – Natty Rebel
The Pharcyde – Bizarre Ride II the Pharcyde
4. What do you associate with Berlin?
Berlin is a very important city in my journey. I used to go there almost every month for years because I have many close friends there. I started playing in Berlin in the 1990s, for the first time at the former Tresor—an incredible experience at the time. Later, I played regularly in almost every club in the city. Then Covid arrived, and I haven’t been back since. The pandemic hit the electronic and club scene hard, but I keep powerful and formative memories of it.
5. What’s your favorite place in your town?
My favorite place in Geneva is my music studio. I spend a lot of time there and feel at peace, even when I’m not creating. It’s a space where I can refocus, let my thoughts flow, or simply enjoy the silence.
I also love cycling and taking long rides along Lake Geneva. We’re lucky to live in such a beautiful country as Switzerland, whose landscapes inspire me and give me a deep sense of freedom. Between parks, waterfronts, and small cafés where you can listen to music or connect with other artists, Geneva offers me a perfect balance between creative energy and serenity.
6. If music didn’t exist, what would you do instead? If music didn’t exist, I would probably turn to other forms of artistic expression, like painting, photography, or perhaps even dance, which I practiced for a long time before becoming a DJ and producer. Music is my main language, but art as a whole remains a way to tell stories and convey emotions.
7. What was the last record/music you bought or listened to?
The last track I listened to on repeat was Ain’t It Nice by Madison McFerrin. I really appreciate her—she’s incredibly talented, and her music touches me deeply.
Lately, I’ve been listening less to electronic music. Not because the scene is empty—there are still very interesting releases—but I feel that, overall, there is less boldness than before. Many artists no longer take risks, which is a shame, because this scene has made us dream for decades and introduced us to incredible sounds and artists.
I don’t think this lack of inspiration comes from the audience or most producers, but from certain players who seem to prioritize commercial aspects over creativity. The essence of electronic music has always been experimentation, discovery, and risk-taking.
8. Who would you most like to collaborate with?
I would love to collaborate with artists who share a taste for experimentation and raw emotion, whether in electronic, jazz, or Afrobeat music. One dream would be to work with Flying Lotus.
9. What was your best gig (as performer or spectator)?
My best gig as a performer was a few years ago when we organized an Access 58 party and invited Robert Hood. I still remember picking him up at the airport in London; he had arrived with his wife. We welcomed them to our place, and that evening I was surprised to see his wife singing during his live set—a truly unique and magical moment.
As a spectator, my best concert was also a few years ago: Q-Tip in Central Park, New York. The atmosphere was incredible, right in the middle of summer, and we stumbled upon it by chance. The connection with the audience that day was magical; I had never felt anything like it before, despite having attended many concerts.
10. How important is technology in your creative process?
Technology plays an important role in my creative process, but it isn’t essential. What matters most are ideas and creativity. In recent years, I’ve noticed that some people have huge studios with impressive equipment, yet don’t necessarily offer real innovation. Conversely, other artists with only a couple of small machines manage to create true wonders.
That’s why I’ve always chosen to focus primarily on ideas. Technology is a valuable tool, but it can’t replace imagination. Of course, good mixing and mastering remain essential to give a professional shape to the final result. I often discuss this with friends, and we all share the conviction that creativity must remain at the heart of the process.
11. Please tell us more about the development of your new album.
My album Change Time was born during the Covid period, when I was in London with my family. Like for many, it was a difficult time: some found a new momentum, but for me it was darker. I went through a phase of depression, and music was what kept me going. I dedicated myself entirely to it, released several projects, and gradually the idea of a new album emerged. Change Time represents a new beginning for me, a way to transform this difficult period into creation.
Until now, my world was mainly oriented toward club music: techno and house. That was my playground, my identity. But with Change Time, I felt the need to open another door, to expand my musical language. It’s a shift that allows me to reveal a more intimate, narrative side. We’re no longer only in the energy of dance but in storytelling—transmitting raw and sincere emotions.
