Who is Scar Productions, the new nugget of the French rhythm industry?

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

Do you know the common point between “chop” of Fresh“All is well” fromAlonzo and “Suavemente” by soolking ? Yes, they are all among the biggest music acts of 2022…but not only. Behind the popularity of these songs, the same four-letter producer designs the musical instruments. At just 21 years old, Scar already has a well-stocked repertoire.

To his credit, seventy investments were made in record time. whether for French rap starssuch as Gazo, JuL, Timal, Lefa, Leto, Niska, Koba LaD, Soolking, Naps, Ninho or for up-and-coming artists such as Doria, Gambino La MG, Frenetik, Fresh, Uzi, Kerchak, Olazermi, Théodore or Tsew The Child, The scar looks everywhere. So that the young man leaves his mark on the international scene! Murad and Bani Jr. (Spain)Madd and Morrow (The Kingdom of Morocco)Dardan and Ahmed Amin (Germany)Cabo Plaza (Italia) Even Heidi is one (England) She is part of his collaboration. Not a Friday goes by without hearing one of his tunes in one of his new releases. Recently, it was in 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 rhythm industry.

Rablom: Can you introduce your background to those 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 rather atypical school career with early education in France and then a transition to the Spanish system from 12 to 15. After that, she graduated from an English high school in Ibiza. At the moment I live between Saint Malo and Rennes but at the time it wasn’t 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 everywhere and landed on the right person. I built my own small network of beat makers and worked hard to get to where I am today.

When were your first steps in the percussion industry dating back to? What role did Le Motif play in developing your career?

I guess in 2017, I downloaded Logic Pro X to understand computer music a little bit, but I didn’t really touch 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 for things in their courses. A few months later, around April 2020, it seemed to me that I was in the process of sending my products out 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 reached out, and he finally signed me with him and Universal a month later and a little later.

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

My first spot specifically was Le Motif in which Meryl (“catch up on time”) appears.And the The second is Gazo featuring Tiakola (“Kassav”). We’ve already been in touch with his team for a long time, and Gazo has 3000 followers on Instagram alone.

Is there a rapper with whom the collaboration was 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. It was the first time I worked with him through his beat maker SHB. We did some collaborations and he liked it right away. He even posted the audio on Insta and tagged it, which is a great sign of respect for the beat makers. Since then, we work almost every day with SHB and we must have more than fifty unreleased songs with Murat.

On the French-speaking side, it would be Damseau, which I quote often, but my final position would be Don Toliver.

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

With Nardey, we connected directly to Instagram. We were in the beat making group where we exchanged information and tips… For our first collaboration, we went to the Discord platform, where we can share our screens at the same time to get more collaborations. Our third group is Cassava. And in regards to the first of us, Gazou had it up at the time but it never really sounded, even if 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.

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

The nicknames she spawned are Ziac’s “Talent” with Nardi and Mimo, and “Titanic” by Sue La Lone feat Bindo Z. I also composed Leith’s Bonus Track with BKH, Heezy Lee and Le Motif. Regarding the sound with Ziyak, she told an anecdote in the documentary about the album, which is available on Raplume’s YouTube channel. As for So La Lune and Beendo Z on the other hand, I remember Alvaro texting me one evening telling me to send me tunes for this feat. The timing wasn’t good because I had to go out to dinner with my girlfriend. He sent his first tune packet thinking that was enough. Get ready and Alvaro tells me again that So and Bendo haven’t found anything that suits them. So I put back a second package and am getting ready to leave but Álvaro told me they still didn’t block anything. In the end, she sent over 100 different tunes until they came across the song “Titanic.” Its history goes back more than two years.

What makes mastering an instrument like the guitar in your job as a rhythm maker?

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

In short, how would you describe your robotic style?

I never asked myself the question because I always tried to be versatile and to compose the most production style each time. So specifically, I’d say diverse, personal, simple, and complex.

What is your ultimate investment, all countries combined?

On the French-speaking side, it would be Damseau, which I quote often, but my final position would be Don Toliver! A little more complicated to get there again – even if it’s already very difficult for Democrats – but they are definitely the two artists I listen to the most.

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

I would like to find and produce an artist from the beginning, to break free with them and be able to take more risks about what we can offer the audience. And of course, I’ll continue to work with the artists I’m in contact with for now 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 this to be “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 talk to you?

It’s a concept that’s gaining more and more momentum in France, and it’s also a way for us to step out of the shadows. So yeah, it’s something that speaks crazy to me! Artist-composer joint projects, which I’m committed to, too. Maybe the Scar x Nardey mixtape will come soon, who knows…

What’s on your playlist right now?

Lots of different colors! We are transitioning from the joint venture of Drake and 21 Savage to So La Lune. Slightly sad sounds too, like “From Time to Time” by Flitzy and Nagy or even “Talent” by Ziak on Raplume.

Best advice to give to a young start-up beat maker?

There are several paths to success, but if I had to give advice to someone who is just starting out, it would be: 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 “visible” situation, they are not necessarily ignoring you, take a step back and not react to your feelings.

In the rest of the news: “Stu” looks at his past in “Remember”

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ahmed92aissa

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