{"id":357,"date":"2020-10-30T13:03:59","date_gmt":"2020-10-30T12:03:59","guid":{"rendered":"https:\/\/www.haumeamagazine.com\/?p=357"},"modified":"2021-04-08T11:06:11","modified_gmt":"2021-04-08T09:06:11","slug":"we-talked-with-microqlima-the-independent-label-that-fights-for-the-french-pop-music-scene","status":"publish","type":"post","link":"https:\/\/www.haumeamagazine.com\/en\/we-talked-with-microqlima-the-independent-label-that-fights-for-the-french-pop-music-scene\/","title":{"rendered":"We talked with microqlima, the independent label that fights for the French pop music scene"},"content":{"rendered":"

microqlima, a label that beats to their own drum. A label that “oscillates between sun, soundscapes, and brain-storms”, to use their own words. A nebula of metaphors that describes a Parisian talent agency coveted by many artists in Paris, and most definitely by many artists throughout France.<\/strong><\/p>\n

The labels that can brag about having always been successful are rare. And yet, microqlima is one of those exceptions in the French music industry; a label that has been able to guide to success each and every artist it has decided to develop. microqlima is a label initiated by Antoine Bisou, a former manager that works on developing the careers of artists such as P\u00e9pite, Isaac Delusion, L’Imp\u00e9ratrice, and the very recently signed Fils Cara. They rarely sign new artists, but when they do, they hit the nail on the head. How do they do it? We tried to find out their secret by asking questions to Antoine Bisou, the founder of the label.<\/p>\n

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From the creation of a label to the signature of French pop figures.<\/h3>\n

Where did the desire to set up microqlima come from ?<\/strong><\/p>\n

Basically, around 2014 I was the manager of L’Imp\u00e9ratrice, Isaac Delusion and Fishbach, and I wanted to set up the label, because I wanted to showcase better what I was doing. I wanted to have a bit more freedom as well. I had a vision of management that was very personal and very emotional, and I experimented a lot with my artists. I had left the label I had created a few years before, which was called Cracki, and I really did everything by myself. What I was doing ranged from developing a website, to graphic design, to accounting, to applying for grants, to pressing vinyl records and selling them from my garage, and even booking dates because artists didn’t necessarily have a tour manager. Basically, I was already doing the work of a label, within my capabilities of course. And it also came from something that goes back a long way, that is to say, that I’ve always been independent. I made music when I was a kid, I made rap, I made beats, and even though it never went further than my bedroom and my MySpace account, I learned how to code a website, I learned how to take pictures, I learned communication by spamming my friends on MSN, etc. I’ve always been able to do it myself. And I learned how to finance my project by working at the market at 5am to buy myself music instruments.<\/p>\n

We put on a pedestal the “entrepreneurial artist” who does everything themselves, I don’t agree with that idea at all. […] Most of them are not supermen and need to surround themselves with a team.<\/strong><\/p><\/blockquote>\n

Without fully realizing it, I was already doing everything possible to do around music. Today, it’s nothing out of the ordinary, but I think it’s still very accurate, and in the end, I was closer to an entrepreneur than an artist. And it’s even more diverse today than if it was my project, it’s a little less schizophrenic, and I think that’s the situation that many artists encounter today. We put on a pedestal the “entrepreneurial artist” who does everything themselves, I don’t agree with that idea at all, some artists are extremely gifted at doing a lot of things on their own, but most of them are not supermen and need to surround themselves with a team. Even the best Beyonc\u00e9 and the best Daft Punk have created a team around them. It’s not easy, doing this alone, and especially since you might completely forget to make good music! You don’t have the time, and your mind is polluted by numbers, by details… So when I take a look back, I feel like I’ve always had it in me.<\/p>\n

I chose microqlima, which was a word I had already found in 2010 to host events in Toulouse, France, and I thought at the time that microqlima could very well be a label name, so I kept that word. I think it was the day after I turned 25 that I created microqlima. I said to myself, I’ve tested a lot of things, now, from 25 to 30 years old, you have to create something. Which I did ! Although, I didn’t want to create a rap label, I didn’t want to create a dubstep, techno, or house label. In fact, each artist has their own climate, their own microclimate, and so each one has their own style. It’s an eclectic label, by definition. Also, but I didn’t know that until later, our activity is pure development. We use the metaphor of a garden here, we don’t plant large industrial plantations, we represent very few of them, and we plant the seed ourselves. We have artists who, when I went out to look for them, didn’t exist before ! We accompanied them from A to Z.<\/p>\n