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The first single from SUPER DISCOUNT 3, true to the producer’s house obsession, is “ Night (Cut the Crap)”–an edgy, state-of-the-art bombshell that exploded on the summer 2014 electronic scene. This time for SUPER DISCOUNT 3, ÉTIENNE has worked with singers Baxter Dury, Pos & Dave (De La Soul), Tom Burke (Citizens!), Madeline Follin (Cults) and Kilo Kish rather than producers, although Alex Gopher and Julien Delfaud contributed. Although synthesizers are still in the front line (true to the techno energy of Super Discount 2), the samples and production go to create a more house, funky sound (the trademark of the first volume). The project’s third chapter forms a connecting link between the first two episodes. It is at this point that ÉTIENNE decides to revive Super Discount. A genuine revolution in stage design for electronic music, it helps techno break out of its ghetto, making it a hit at rock festivals.īy 2014, EDM is taking the USA and most of the rest of the world by storm. This radical, bright, cubic sound installation travels the world for more than 5 years (headlining Coachella’s Sahara stage in 2008). In 2008, ÉTIENNE DE CRÉCY launches Beats’n’Cubes, a piece of performance art devised by the Exyzt collective. ÉTIENNE DE CRÉCY then produced the Commercial EP 1 & 2 and offers to the Bloody Beetroots to remix his track “Funk.” The remix becomes a viral success and springboard for the Beetroots, and forms a connection between ETIENNE and the young electro generation. The tour begins in small, pioneering electro clubs all over Europe and ends two years later on the stages of some of the greatest festivals in the world. The numbers “Fast track” and “Overnet” become the anthems celebrating electronic music’s renaissance.įrom 2004 to 2006, ÉTIENNE DE CRÉCY performs Super Discount 2 live with Alex Gopher and Julien Delfaud. Philippe Zdar, Boom Bass, DJ Mehdi, Alex Gopher and Julien Delfaud all contribute to the album. The result is Super Discount 2, whose harder, more aggressive sound is closer to ÉTIENNE’s early techno leanings. In 2004, as house music fills the charts and iconic French Touch DJs play sets in the world’s biggest VIP clubs, ÉTIENNE DE CRÉCY has a sudden change of heart and turns to electro, influenced by the young guard of producers who are tired of French Touch.
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Once again, images turn out to be crucial when his brother Geoffroy de Crécy makes a series of animated videos for the singles “Am I Wrong,” “Scratched” and “Tempovision.”
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On Tempovision, he explores new dimension of his work (dubbed ‘digital soul’) with American singers Belita Woods and Michael Clip Payne. A tireless electronic trailblazer, he moved on from pure house music and now introduces a sound previously exclusive to underground to a wider audience.
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In 2001, ÉTIENNE DE CRÉCY released Tempovision. The U.K.’s MixMag magazine wrote, “ Every track of this album is simply sublime… Every single one is quite simply essential.” Super Discount is a critical and commercial success, an icon of its day. Like Motorbass’s Pansoul, the record becomes one of the driving forces behind French Touch and seminal classic of electronic music in France and abroad. In 1995, ÉTIENNE DE CRÉCY launched his Super Discount project writing most of the tracks on the fictitous compilation album, crediting them to different aliases, but also works with his friends Air and Alex Gopher.
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Sound engineers at the legendary Plus XXX studio, they release their album Pansoul in 1994, announcing the birth of French house. The story begins in 1992 when ÉTIENNE DE CRÉCY and Philippe Zdar go to their first rave in Paris and decide to form Motorbass. Look for SUPER DISCOUNT 3 to be released in North America January 19th 2015 on Ultra Music. After five years spent blitzing a string of venues with his legendary Beats N’Cubes show –a lavish installation and live experience as visually brilliant as it was sonic, leaving festival-goers at Coachella dazed– ETIENNE DE CRÉCY has revived his Super Discount project, a decade after the last, second opus.