Interview with Cleymoore: Meet the Audiovisual Maestro
- 23/08/2023
Cette publication est également disponible en : 
In the effervescent world of electronic music, where notes are often lost in the darkness of nightclubs and rhythms can easily become confused, one artist stands out for his unique approach and ability to touch the soul deeply. Cleymoore, with his“Ring Of Neptune” label, has created a universe that is not limited to sound waves alone, but also embraces spellbinding visual spectacles. For him, the essence of creation lies not in the quest for glory, but in the deep desire to connect, touch and inspire.
Follow Cleymoore:
Spotify I Soundcloud I Facebook I Instagram
TechnoMag had the privilege of sitting down with this iconic artist to explore his vision, aspirations and advice for aspiring musicians. In this conversation, Cleymoore shares not only his personal journey, but also his perception of the realities of the music industry and the need for artists to find their unique voice.
Interview with Cleymoore: the audiovisual artist who fuses music and design
TechnoMag :
Hi Cleymoore! Thanks for agreeing to chat with us today. To start, can you tell us a little about your background and what inspired you to become an audiovisual artist?
Cleymoore:
My love of the arts has always been present. It started with comics and video games, and has expanded over the years to all areas of the graphic arts. My passion for music comes from my father; he’s not a musician and doesn’t work in the music business, but he was constantly on the lookout for new music. Even when I was very young, my father exposed me to many genres of music not usually considered suitable for children. As a result, music became an obsession for me. This obsession, combined with my love of graphics, created an innate curiosity for the audiovisual world, and soon I wanted to create it myself.
TechnoMag :
What’s the story behind the name “Cleymoore”? How did you choose this pseudonym?
Cleymoore:
I remember watching an animated series called “Claymore” at the time; the name sounded cool to me, and for some reason I felt like using it. At the same time, I’d seen the word used in other contexts: a World War II mine developed by the United States / a massive sword from the Middle Ages. The problem with using such a name is that these references would always appear first, so I changed the ‘a’ to an ‘e’ and added an extra ‘o’, making a Google search more accurate. SEO, baby!
TechnoMag :
You are the founder of the Pluie/Noir collective. Can you tell us more about this initiative and what inspired you?
Cleymoore:
I’ve always been drawn to record sleeves with beautiful illustrations. For me, buying a record is a very visual thing. So when I launched Pluie/Noir, I wanted it to be a very visual project, appealing both to people drawn to the visual arts and to people who wanted to listen to electronic music at home. Not necessarily party music, but music you could certainly dance to if you wanted to, without having to. Something more mental, often minimalist. So crossing audiovisual worlds seemed crucial to me. I contacted graphic artists to visually interpret the music, or music producers to translate the visuals into music, and created this organic dialogue on all releases and podcasts, where both musicians and visual artists had a voice. The label became entirely about the music, the art and the interaction between the two. This holistic approach has been essential to its success.
TechnoMag :
Your collective has experienced impressive growth and released numerous podcasts, cassettes and vinyls. How do you select the artists you work with, and what values do you look for in them?
Cleymoore:
I always try to strike a balance between satisfying my evolving taste and that of the public, who end up buying the records. When the project started, I involved some industry heavyweights, like Fumiya Tanaka and Petre Inspirescu. They are heroes and excellent examples of artists with a powerful musical signature and great respect for the visual arts. Gradually, my attention turned to newer, younger and less experienced talent, who often need a voice in the music world. However, I continued to seek out artists with a particular signature sound and recognizable style of expression. When it comes to releases, my process is always the same: I usually get music from artists close to me or friends of friends. Then I have a graphic artist, painter or photographer listen to it, and suggest something related to the music, according to his or her personal vision. It’s a labor of love, and always has been.
TechnoMag :
What are the most memorable audiovisual collaborations you’ve worked on with Pluie/Noir? Is there a particular project that stood out for you?
Cleymoore:
All the collaborations I’ve organized have turned out to be one-of-a-kind, and they all have their own little story that’s intrinsically part of my life and growth as an artist and a person. But one of the most personal projects in the label’s history was undoubtedly the first anniversary compilation. It was an arduous but career-defining moment. I learned a lot.
TechnoMag :
In addition to your work with Pluie/Noir, you’re also a well-known DJ. What motivates you as a DJ, and what do you enjoy most about live performance?
Cleymoore:
The invisible, inaudible dialogue between me and the audience. The tension created by the unknown, between satisfying my evolving taste and that of the public, who must ultimately be satisfied. Most DJs forget that our “profession” is a job, simply because we have fun doing it most of the time. Many people’s salaries depend on our performance, from club staff to promoters. As DJs, we have the power to get, keep or keep people on the dance floor or in the club. It’s an important task; to satisfy party-goers with music they love to dance to. The right balance between what people want to listen to and what I want to play, that’s the challenge I like. And finally, to play music that people didn’t even know they wanted to hear in the first place. This can only be achieved by maintaining a comfortable, trusting dialogue with the audience. A game of give and take. Compromise.
I’m also constantly obsessed with tempo, musical scales, keys and rhythmic grids. Especially since I started studying music theory, the DJ experience has become much more complex but interesting.
TechnoMag :
Can you tell us about your creative process when working on a new musical production or audiovisual project?
Cleymoore:
I have no particular process. I’ve never studied music, I’m completely self-taught, and I have varying degrees of OCD which, over time, leads me to develop (very healthy) obsessions with learning new things and experimenting. I like to start from scratch, always. I can use the same tools, but never the same canvas, whether in visual arts or music production. I can create a track in an hour, not touch it for a year, then come back and finish it. Sometimes I can obsess over a track and finish it in a few days, sometimes in a few hours, or never at all.
These days, I like to approach music in a very experimental way, which is largely due to my (relatively recent) love of modular synthesizers. The creation of generative music, for example, fascinates me. The idea that we can define a whole universe of rules and that our own universe will generate music accordingly, for an infinite but ephemeral duration, is absolutely fascinating.
TechnoMag :
Let’s talk about your cover of TOOL’s “Schism”. How did you come up with the idea of revisiting this song, and what approach did you take to transform it into something new?
Cleymoore:
Tool has been a major influence on me and my musical education. It opened my mind to polyrhythms and complex rhythmic signatures, which are very present in my latest (and forthcoming) releases. These rhythmic signatures are sometimes present in IDM tracks, my favorite musical genre to date.
I’ve always wanted to cover “Schism”, but never dared to delve into the intricate details of its rhythmic signature. When Sound of Berlin contacted me for the Berlin Undercoverproject, I said to myself: “Why not try it now? Berlin is an epicenter of change; its complex and nuanced historical circumstances will resonate forever in its streets. And at the heart of it all, there’s a burgeoning art scene that’s constantly changing, just like the city itself. For Sound of Berlin’s Berlin Undercover project, I wanted to present an unlikely mix of progressive rock and techno, in homage to Berlin’s punk history and metro-chameleon character. I wanted to experiment with a regular 4/4 kick under its extremely unusual 12/8, 5/8 and 7/8 rhythmic signatures, mainly because the Berlin sound is deeply linked to techno. I also tried to translate Maynard’s vocals into synthesizers and synthesized backing vocals. This gives it a very different feel. TOOL has also been a major influence on me and my musical education. It opened my mind to polyrhythms and complex rhythmic signatures, which are very present in my latest (and forthcoming) releases and very present in many techno arrangements by my favorite producers. Such rhythmic signatures are usually also present inIDM tracks, my favorite musical genre to date.
TechnoMag :
What are your main sources of inspiration as an artist? How do you manage to stay creative and push the boundaries of your art?
Cleymoore:
I’m in a constant cycle of working and learning new things, especially about myself. But my greatest source of inspiration will always be the emotional flow of the audiovisual world. If something touches me, it inspires me to create. Impressing others with my work, even if it’s just one person, also keeps my motivation intact. Films, TV series and video games remain my favorite sources of inspiration. Avidly collecting music in vinyl or cassette form is also a source of inspiration, as I’m bombarded with audiovisual ideas. Not only am I buying a record, I’m also acquiring a physical product with a unique design and artwork that I’m meant to experience to the full.
I’ve also started reading comics again, especially manga, which I’ve always loved but needed to explore further. I appreciate this medium even more now than before, especially Japanese mangakas like Inio Asano, Junji Ito or Makoto Yukimura, or American author Neil Gaiman (creator of the fantastic “Sandman” series). I needed more maturity to fully understand their depth. They inspire me deeply, not only visually, but also intellectually. And of course, modular systems. They opened a Pandora’s box I didn’t know I had inside me. Nothing like it: they’re complex and sometimes unpredictable, downright whimsical but endlessly inspiring. I fell in love with Make Noise after trying it out in Orbe’s studio in Madrid. I studied and learned all I could about modular systems for a whole year before taking the plunge. I wanted to be sure of myself and use my money responsibly. A year later, I built a custom Black & Gold Shared System and extended my system to an Intellijel box, which greatly expanded the world of sonic possibilities. Anything modular is my main source of musical creation, alongside Ableton’s underrated Wavetable engine and Max MSP instruments and effects.
TechnoMag :
Can you tell us about an interesting anecdote or key moment in your career that has profoundly influenced you as an audiovisual artist?
Cleymoore:
Having people come up to me on different occasions, in different countries, to tell me that the Pluie/Noir podcast series and its audiovisual universe have “saved their lives” in moments of emotional distress has been, and always will be, the most valuable feedback I’ve heard in my entire career. I’ve never sought fame, so knowing that I’ve touched someone emotionally is enough for me.
TechnoMag :
What are your long-term goals as an artist? Is there anything you’d like to accomplish or explore further in your artistic career?
Cleymoore:
I’m increasingly drawn to the world of soundtracks. My current obsessions revolve around composing for anything visual, be it animated graphics, film, video games or theater. I’m also deeply connected to the world of cinema, and it’s a world I want and need to explore next. Not that creating music for dance floors is completely irrelevant; they’ve simply become secondary in my quest.
TechnoMag :
What advice would you give to aspiring young artists? What do you think are the keys to success?
Cleymoore:
Trends in the music and nightlife industry come and go at the speed of light, and working in this sector can quickly become a source of frustration. With the prevalence of social networking, it’s common for artists to compare themselves to their peers or other artists they admire, which can lead them to question their abilities and success. But it’s important to remember that fame is often completely detached from quality. In the midst of this hubbub, artists and labels need to develop their own voice. The people you surround yourself with and the scene you explore will have an impact on your career, but creating a personal and unique universe is absolutely essential. Although social networks play an important role in the visibility of an artist’s or label’s output, they should be used with caution, preferably as a tool for self-expression. Find your own voice at your own pace, and stay resilient.
Conclusion
Cleymoore is a talented audiovisual artist who combines music and design in innovative ways. His Pluie/Noir collective offers a unique platform for audiovisual collaborations, featuring international artists. As a DJ, Cleymoore stands out for his captivating performances at renowned clubs and festivals. His cover of TOOL’s “Schism” demonstrates his creativity and ability to fuse different musical genres. Cleymoore continues to leave a lasting artistic imprint, inspiring electronic music fans around the world.
