SDM sends out the music video for “Ragnar”

Landed in the game two years ago, Scar is a young producer who quickly made a name for himself. After a great collaboration with some of the leading figures in French rap, it’s time to find out.

Do you know the common point of “chopping” of Fresh“It’s All Right” fromAlonzo and “Suavemente” by Solking ? Yes, they’re all among the biggest musical acts of 2022…but not just them. Behind the popularity of these songs, the same four-letter producer designs the instruments. At just 21 years old, Scar already has a well-stocked repertoire.

To his credit, seventy investments were made in record time. whether to French rap starssuch as Gazo, JuL, Timal, Lefa, Leto, Niska, Koba LaD, Soolking, Naps and Ninho or for up-and-coming artists such as Doria, Gambino La MG, Frenetik, Fresh, Uzi, Kerchak, Olazermi, Théodore or Tsew The Kid, The scar is everywhere. The young man is even making his mark on the international scene! Murad and Bani Jr. (Spain)Mad and Moreau (The Kingdom of Morocco)Dardan and Ahmed Amin (Germany)Cabo Plaza (Italia) Even Heidi (England) It is part of his collaboration. Not a Friday goes by without hearing his tunes on one of his new releases. Recently, he was on the album Raplume The sun will rise in the west It popped. An opportunity for us to delve deeper into the subject and meet one of the rising figures in the French beat industry.

RABBLUM: Can you introduce your background to people who don’t know you?

Scar: I was born in Neuilly-sur-Seine but when I was 10 I went to live with my family in Ibiza. So I have a somewhat atypical school career with early education in France and then transition to the Spanish system from 12-15 years old. After that, she graduated from an English high school in Ibiza. At the moment I live between Saint-Malo and Rennes but at that time it was not easy since I lived in Spain. I did not expect to achieve my place in France so quickly. In the end, with networking, I sent my products all over the place and landed on the right person. I created my own little network of beatmakers and worked really hard to get to where I am today.

When were your first steps in the percussion industry back to? What role has Le Motif played in your career development?

I think in 2017 I downloaded Logic Pro X to get a little understanding of computer music, but I didn’t really get into it until January 2020, when I asked myself what I’d like to do with my life. From that moment on, I did just that with my days. Even in high school, I worked on my computer, which made teachers think I was looking up stuff in their courses. A few months later, around April 2020, it seems to me that I was in the process of sending my products to all those who were looking for them. When I came across an Instagram story about Le Motif looking for Lo-Fi releases, I emailed, we got in touch, and he finally signed me with him and Universal after a month and a little later.

What was your first big investment and how did you get there?

My first spot specifically was Le Motif featuring Meryl (“Catching up on time”)And the The second is Gazo which includes Tiakola (“Kassav”). We’ve actually been in touch with his team for a long time, and Gazo had 3,000 followers on Instagram alone.

Is there a rapper with whom collaboration has been more fluid and straightforward than others?

The question is not easy, but thinking about it a little, I would say that with Murat, there is a real trick. The first time I worked with him was through his SHB beat maker. We did some collaborations and he liked it right away. He even posted the audio on Insta and tagged us on it, which is a great sign of respect for the beatmakers. Since then, we have been working almost every day with SHB and we must have over fifty unreleased songs with Murat.

On the francophone side it would be Damso, who I quote often, but my final placement would be Don Tolliver.

We can often find you and Nardey in the same production. How did you meet each other? How do you work together?

With Nardey, we connected directly to Instagram. We were in a beatmaking group where we exchanged information and tips… To do our first collaboration, we went to the Discord platform, where we could share our screens at the same time to get more collaborations. Our third group is “Al-Kasaf”. And as for our first, Gazoo had brought it up at the time but he never made the sound, even though it was amazing! Today we’re still working on Discord, it’s like we’re in the studio together, it’s a great way to work.

I produced two tracks from our new album The sun will rise in the west. Do you have any particular anecdotes about the concept of these pieces?

The titles she produced are “Talent” by Ziak with Nardi and Mimo, and “Titanic” by So La Lun feat. Bindo Z. I also composed additional Leith tracks with BKH, Heezy Lee, and Le Motif. Regarding the audio with Zayaq, an anecdote was told in the documentary about the album which is available on Raplume’s YouTube channel. For So La Lune and Beendo Z on the other hand, I remember Álvaro texting me one evening telling me to send me the tunes for this feat. The timing wasn’t good because I had to go out to dinner with my girlfriend. He sent the first melody packet thinking that was enough. Get ready and Alvaro tells me again that So and Bendo haven’t found anything that works for them. So I pack a second and get ready to leave but Alvaro tells me they still don’t hold anything back. In the end, I sent over 100 different tunes until they came across the song “Titanic.” It dates back more than two years.

What makes you master an instrument like the guitar in your work as a beat maker?

I find it brings some music that can quickly be forgotten into current music. Real guitars are often replaced by VSTs and as a guitarist I find that very sad. It doesn’t really sound the same and you lose the human side. So with my guitars in my productions, I’m just trying to widen the gap between real instruments and VSTs. We can take for example “La street” by JuL and Morad. I guess we’ve never heard JuL on a real guitar and I think that makes the song quite original.

In short, how would you describe your automated style?

I never asked myself the question because I always tried to be versatile and compose the most production style every time. So specifically, I would say varied and personal and simple and complex.

What is your final investment, all countries combined?

On the francophone side it would be Damso, who I quote often, but my final placement would be Don Tolliver! A little more complicated to get there again – even if it’s already very difficult for the Democrats – but they’re definitely the two artists I listen to the most.

How do you see the rest of your career in French rap?

I’d like to find an artist and produce it from scratch, to be free with it and be able to take more risks with what we could bring to the public. And of course, I will continue to work with the artists I am in contact with at the moment as well.

Do you want to produce for artists other than rap?

Of course, and I often think about it, I don’t have the contacts yet. I don’t know if we can consider that “non-rap” but I listen to a lot of Brent Faiyaz songs for example, Jorja Smith too. It would be hard to make “non-rap” sounds with rappers too…

Do Beat Maker albums speak to you?

It is a concept that is gaining more and more momentum in France, and it is also a way for us to step out of the shadows. So yeah, it’s something that speaks crazy to me! Joint projects between an artist and a composer, which I stick to too. Maybe a Scar x Nardey mixtape is coming soon, who knows…

What’s on your playlist right now?

So many different colors! We’re moving on from the joint project of Drake and 21 Savage to So La Lune. Sounds a little sad too, like “From Time to Time” by Felizzi and Nagy or even “Talent” by Zyak on the Raplume album.

Best advice to give a young beatmaker starting out?

There are several ways to be successful, but if I had to offer someone just starting out, it would be this: 1) Be patient, as a general note. 2) Be strict, impose a certain rhythm of work on yourself. 3) Take the time to put yourself in the shoes of the people you interact with. If someone leaves you in a “seen” situation, it’s not necessarily that they’re ignoring you, take a step back and don’t react to your feelings.

In the rest of the news: Stu looks back on his past in Remembering

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