In his latest album, What’s the Cure?, Yodelice, the musical alter ego of Maxime Nucci, breaks new ground, fusing genres in ways both unexpected and exhilarating. Known for his folk roots and soulful melodies, Yodelice now ventures into a darker, more enigmatic realm, drawing on post-punk, synth-driven sounds, and the precise pulse of electronic beats. Each track on What’s the Cure? marks a bold step forward, reflecting his journey through collaboration, introspection, and artistic evolution.
Yodelice credits part of this transformation to influences like electronic music pioneer Gesaffelstein, whose meticulous approach helped Nucci sculpt a sound both calculated and immersive. In What’s the Cure?, themes of digital paranoia and existential longing pulse through gritty synths and haunting guitar riffs, inviting listeners to explore the unsettling intersection of modern technology and human experience. Here, he shares the inspiration behind his latest work, the challenges of merging analogue and digital realms, and his thoughts on finding a balance between personal expression and collaboration.
In this interview, Yodelice delves deep into his creative process, shedding light on the experiences and influences that have shaped this sonic departure. From his collaborations with industry legends to his reflections on music’s ever-shifting landscape, Nucci reveals a profound commitment to artistic growth. What’s the Cure? stands as a testament to his fearless exploration of sound, as he charts a course for the future while staying rooted in the genres that defined him.
Your previous works, like Tree of Life, were folk-influenced, while What’s the Cure? dives into post-punk and synth. What inspired this shift in your musical direction?
I’ve always been curious and inspired by different musical genres, especially through collaborations with other artists. Over the past few years, I attended festivals as an audience member, where electronic music performances left a mark on me, particularly the precision of live sets and the metronomic rhythms of drum machines.
Can you explain how your collaboration with Gesaffelstein influenced this album? What did he bring to the process that pushed you into new musical territories?
Gesaffelstein is a friend and an exceptional artist and producer. We wrote What’s the Cure? together. The creative process for producers like Gesaffelstein is distinct, with a very scientific approach to music. I enjoyed exploring that in this album—analyzing frequencies and creating friction, loops, and trances.
Your music reflects a wide range of influences, from post-punk to electronic. Are there any artists or albums you’ve been listening to recently that have inspired your latest work?
The album Suicide by Suicide.
Music can often be a deeply emotional experience for both the creator and the listener. How do you unwind and recharge when you’re not working on new projects?
I travel, ideally alone.
How do you balance your love for analog rhythms and vintage instruments with modern synths and drum machines in this album?
I decided to let my drummer and bassist be synths and chose to play one of my old guitars through a vintage amp. Spring reverb and saturation play significant roles.
The title track tackles societal paranoia caused by the digital age. What specific issues or personal experiences informed this critique of digital culture?
I recommend Cognitive Apocalypse by Gérald Bronner. It’s a thesis on the impact of evolving technologies, especially social networks, on our behaviors and societies. It’s a book you don’t come out of unchanged. For example, algorithms reinforce our ideas, leading us into a kind of new tribalism we may not even realize.
You describe the album as conjuring a “rain-sodden urban landscape.” Can you elaborate on the visual and emotional world you aimed to create with the album’s sound?
Actually, that’s not my description of the album.
You’ve spoken about rebirth and escaping “the easy way out.” How does What’s the Cure? represent your own artistic rebirth?
What’s the Cure? is less of an artistic rebirth and more a continuation of what I’ve been doing so far.
How do themes of love, loss, and existential questioning come through in your lyrics and soundscapes?
For some years now, I’ve been striving to break free in both my writing and production. I don’t intellectualize when I create; it’s almost as if it’s not me making things. Intellectualizing might paralyze me.
You’ve been in the music industry for many years, collaborating with artists like Johnny Hallyday and Jain. What do you find to be the biggest challenges facing musicians today?
Being a musician is challenging in any era.
The music landscape has shifted significantly with the rise of streaming platforms and social media. How has this affected your approach to music production and connecting with your audience?
My music creation remains unaffected because I prioritize my tastes and desires. In terms of connecting with my audience, I try to enhance the visual aspect of my work on social media, like album covers and music videos.
After nearly a decade between Square Eyes and The Circle, what motivated you to release new music? Was there a personal or professional shift that reignited your creativity?
Working with other artists, even when there’s good understanding, involves small compromises that can build up, creating the frustration that drives me to work solo and be in full control of my projects.
You’ve collaborated with legends like Johnny Hallyday and Jain. How have these experiences shaped your approach to production and songwriting on your own albums?
Collaborating with artists with different artistic DNAs lets me immerse myself in new influences and music. I always come out of it more enriched.
Your ability to evolve across genres is impressive. What challenges do you face when switching roles as a performer, songwriter, and producer?
There are two types of producers: those who have an immediate vision and impose it, and those who work in dialogue with the artist. I’ve long been in the second group, which means the challenge is immersing myself in others’ worlds.
Having reinvented your sound multiple times, what’s one lesson you’ve learned about yourself during this musical journey?
That I enjoy challenges.
What’s the significance of your dual identity as Maxime Nucci and Yodelice? How do you balance these personas, and how does that duality play into your music?
Yodelice exists solely in the artistic realm as a stage name. In my everyday life, I’m Maxime Nucci.
With the transformation seen in What’s the Cure?, where do you see your music heading next? Are there any unexplored genres or concepts you’re eager to experiment with?
There are many, but for now, I’m exploring the fusion of guitars and synthesizers. I’m just beginning this journey.
As a musician with a storied career in France and internationally, how do you view your legacy? What do you hope listeners take away from this latest album?
I live in the present, avoiding nostalgia or projecting too far ahead.
How do you see the evolution of electronic music, and where do you place yourself within that global movement?
It depends on what you mean by electronic music. Nowadays, very few songs aren’t played on a computer, so it’s practically omnipresent. For my part, I aim to blend it with my rock, blues, and folk influences.
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