Distant Flow’s journey into music began at the age of 7 in Le Muy, South of France where he would struggle with the confines and lack of creativity that regimented piano lessons offer; instead of listening to his tutor he would dance about and disobey. As a teenager he played guitar in metal bands; a good precursor to the dark heavy beats and melancholic electronic style we hear today.
The age of 18 was a turning point for Distant Flows; whilst at college he discovered he could make music on his own, with complete creative freedom with only his laptop and whilst simultaneously discovering bands like Pendulum, who were blurring the lines between Heavy Metal and Drum and Bass, he investigated further falling deeper down the rabbit hole discovering the energy-fuelled worlds of Drum and Bass, Neurofunk, Dub and Dub-step. Distant Flows was blown away, hooked and eager to start producing his own music, originally using soft-synths, drawing inspiration from the likes of Burial and Exission.
These days Distant Flows prefers producing with hard-synths, he’s no ‘synth snob’ and has no problem with soft-synths, describing hard-synths as something of a luxury, but enjoys playing and experimenting with something that is tangible. He finds the limitations of hard-sytnhs keeps him focused; finding it harder to end up with something that sounds overproduced “You see amazing people just playing guitar in the street, so it’s not all about the equipment”.
Distant Flows finds making music cathartic, it’s his release and finds it to be partially self-defining. Over the past couple of years has found himself to be at ease with the process, describing making music being similar to speaking a second language, “you have to get the grammar in place first, otherwise it’s super simple and functional”.
In 2017 Distant Flows set his sights on Bristol, he wanted to move due to the rich music history in the city, “In the South of France, I knew no one making electronic music, and that is the real difference with Bristol.”
Distant Flows describes his music as moody, melancholic without being too dark, almost like an enjoyable sadness. He has many influences, but is particularly interested in the careers of Paul Kalkbrenner, Lorn and Jon Hopkins.