Sound collector, insatiable explorer in search of the ultimate sample, Degiheugi unearths treasures buried deep in the internet abyss or under the dust of time in flea markets.

Early on, Degiheugi devoured LPs and made turntables roar in a rap crew. But the classical hip-hop sphere quickly proved itself too narrow to echo the massive flow of ideas that irrigated his right hemisphere. He reinvents the art of merging these sound particles in order to offer them an atomically radiant second life. Imbued with high-end features of beats chiseled out from the gold groove it is made of, these patchworks are brilliant enough to ignore the codes of abstract hip-hop, and unfold a clear musicality, full of soul reflections and electronic spleen.

Degiheugi recently presented his 8th album entitled, ‘Foreglow’. This record with multiple influences, ranging from samba to Afrobeat through soul and French chanson, is a real ray of light that makes you want to escape and takes you far from home. Once again, the unstoppable digger and beatmaker surprises us and shows us how well he masters the art of sampling.

“The creation of the tracks come one after another, according to my mood of the day, of the current events”

‘Foreglow’ seems to be such a complex record. What can you say about the creating process? How did you approach it?

Degiheugi: I started creating the album during the first lockdown in March 2020. I had to go on a trip and everything was cancelled. At this time, I wanted to escape: some sun, beach, rum and tapas. I found myself locked up at home, with this feeling of frustration, but also a bit of anxiety, and so much time to think about my own existence. I think that those varied feelings made me very creative in a short period of time. The creation of the tracks come one after another, according to my mood of the day, of the current events. I could go from a title like ‘Favelas’ which invites to escape to the sun, and the next day to a title like ‘Let’s Burn’ which tells us to burn everything and fuck everything up! It’s a phase when we all had a lot of time to think, locked up at home, and in this situation, I wanted positive vibes against the ambient moroseness, that’s also why the album is more “solar” than my previous ones.

You successfully incorporated multiple influences, ranging from samba to Afrobeat through soul and French chanson. Is your approach to laying down music a building block process?

I listen to a lot of different styles of music, so when I write an album I don’t try to lock myself into one style. I don’t try to stick to one style. It’s kind of like saying to my listener, “here’s what I’m listening to right now”. There are many more influences I would like to add to my music, but generally, I tackle a repertoire once I am familiar with it. I’ve always avoided putting boundaries on my influences and my creative process. As long as I like it, let’s do it! I’m not the type to say “I only sample soul music from 1965 to 69”. That’s not my thing. I’m fascinated by the music of the 60’s- 70′! To come back to my creative process, it often starts from a sample. Then I try to build around it, adding other samples or synthesizers, basses, or other instruments. I also bring a lot of importance to percussion. It’s like a giant puzzle where I try to find the solution so that in the end it gives a beautiful picture.

<a href="https://endlesssmile.bandcamp.com/album/foreglow">Foreglow by DEGIHEUGI</a>

“I like the spontaneous, ephemeral side of the creative moment”

Do you find yourself to be a perfectionist, in control, or do your ideas lead you, taking on a life of their own?

I don’t know if I’m a perfectionist. I don’t think I am. If I don’t like a piece, I don’t release it, but if I do, I like the spontaneous, ephemeral side of the creative moment. I often let myself be inspired by the inspiration of the day or the moment. In general, I know quickly if the piece will give something interesting or not. My way of creating it is that if I stay too long (weeks) on a title, it is that this one does not work or less well than a track I could do in a few days.

It is much more “joyful” than the others! Maybe easier to listen to. As I grow older, with experience I learned to simplify my songs, to make them more “readable”. Not that the tracks are easier to create, but easier to listen to. This one is also maybe a little less “hip-hop” than some of my previous albums. Maybe it’s because there are less features, or maybe I wanted a sunnier album than my previous ones. And strangely enough, this is the first album where I’m not completely bored of hearing it on the day of release. I don’t like to listen to myself once an album is finished, but for once this one, when I listen to it, I don’t necessarily want to do it all over again or press stop.

What can you say about the cover artwork?

I’m so proud of it. It’s a masterpiece. I am very honored that the artist Dulk is once again accepted to work with me on this cover. It was the 3rd album on which we worked together. This cover is even more colorful than the previous ones and Dulk really knew how to transmit the atmosphere of the album through the image. I conceived this album with the guideline of the word “foreglow”. That moment when the sun rises, when the lights are soft but colorful, when the city is still quiet, that moment when you feel in a state of plenitude. Dulk then asked me which animal represented me the most, I answered the sloth, because I have an annoying tendency to appreciate doing nothing. When he showed me the painting that would become the cover, I was overwhelmed. I had the impression that he got inside my head to understand exactly what I wanted. I invite you to go and see Dulk‘s work, because all his graphic universe is really to be parsed, and especially splendid!

How are you coping with the current world situation?

I’m fed up! I think I’m a bit like everyone else. What scares me the most is that I have the impression that people are getting used to this situation. People don’t go out as much and they don’t take off from Netflix. People are refocusing on themselves, and openness to people, to travel, to culture, to listening to others is becoming a rare commodity. Throughout this period, culture has been put at the bottom of the agenda of our leaders. Yet, I sincerely believe that people need culture more than ever. I am a little concerned about what “tomorrow’s world” will be like. I see so many friends who are falling into a precarious situation with all this that it scares me. I’m keeping my fingers crossed that this situation will be behind us next year, and that we can get back to a more or less “normal” life.

And what are you spinning right now on your turntable?

I fell in love with the latest Little Simz album. I find it extremely successful. It’s practically on repeat. I also listen to the latest Tyler, the Creator album quite a bit. When I want to relax, I listen to the Guts compilation ‘Straight from the Decks, Vol. 2 (Guts Finest Selection from His Famous DJ Sets)’, this selection is magic!

Unlikeliest places you’ve found records? Memorable dollar-bin finds?

While traveling I found some unlikely places where you could buy vinyl. In these places it is often purely passionate. I once found an original by Piero Umiliani in a shop that sold cold cuts and wine! Once, in Corsica, I found the first edition of the IAM album, for 20 euros, while it was trading for more than 300€. The record was lost among thousands of records of traditional Corsican songs! I admit that since Discogs, and the speculation on the sale of vinyl, I sometimes take a little less pleasure in digging in the shops. It’s a sport that is becoming too expensive.

Is there an album that has profoundly affected you more than others?

It’s difficult to choose only one because there are so many! The first and second Wu-Tang Clan albums, Bob Marley’s ‘Legend’ which rocked my childhood, DJ Shadow’s ‘Endtroducing…..’ which made me want to dive into this style with my eyes closed, Pete Rock’s ‘Soul Survivor’, The Fugees’ ‘The Score’, IAM’s ‘The School of the Silver Mic’, Madlib & Doom’s ‘Madvillain’, De La Soul’s ‘De La Soul Is Dead’… there are so many that I can’t name only one. It’s impossible!

Are you involved in any other projects or do you have any active side-projects going on at this point?

Right now I’m working on the next tour, and it’s taking me all my time. I sincerely hope that we will be able to go back on stage in almost normal conditions. I have a lot of ideas about future projects, but at this point it’s really too early to talk about them. Thank you.

Klemen Breznikar

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