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On August 15th 1977, Elvis collapsed at his home and never regained consciousness. It was – literally, many say – the death of rock and roll. Two weeks later, many thousands of kilometres from Memphis, Bruno Schmitt– alias Zorg - was born. Simple coincidence you might say. And you'd be right. Nevertheless, music was never the same again, and many years later, Zorg was to play his part.
To be precise, Zorg's (private) life started on 28th August 1977 in Strasbourg in eastern France.


Born into a family of winegrowers, young Zorg delights in the calm of the countryside, finds a passion for history, and doesn't listen to music at all. Not a very inspiring start for a musical genius, especially as he does finally take an interest in, um, heavy metal. Who would have guessed that this introverted young man would go on to make sensitive, delicate downtempo? The real revolution starts when Zorg hits 17. Warmest thanks got to his best friend Alex whose love of electronic music was soon to rub off on Zorg, big time. Listening to "The Milky Way", an early track on F Com, and trance 12"s from Eye Q, Zorg and Alex decided they they'd quite like to try their hand at that too. Pooling the little money they had, they bought a sampler and a Groovebox and started frenetic knob-twiddling that was more exploration than creation. And so it continued for a couple of years.
The rise of French Touch stars Etienne de Crecy and Daft Punk showed Zorg that – gasp – you could be French and make good music for everyone to hear, and yet he wasn't inspired. He still hadn't got to grips with the sampler, pal Alex had it for half the week╔ things were going nowhere fast, you might say.
And yet the revelation wasn't far away; praise be to DJ Shadow, patron saint of smoked out hip-hop flavoured grooves, bursting with originality, obscure samples and late-night sensuality. Zorg had finally found his muse, now it was time to tame the beast. Alex and Zorg decided that it would take more than a silly sampler to stop them making great music, so they locked themselves in a room with a large pile of sandwiches, the
stubborn machine and its manual, vowing not to leave until they knew exactly how to get it to do what they wanted it to do. 12 hours later they emerged, sweaty sampling-masters of the universe. Time to make that music. Their early demos were based on loops, an ingenious collage using the sampler and the Groovebox for a result that was modest but correct.
Zorg was kinda happy with the melancholic grooves, but his friends were way more emphatic; Bob Sinclar was playing in Strasbourg that night, and they pushed Zorg into giving him a CD to get his reaction. Amazingly, Bob rang back the next day╔ to ask exactly how depressed Zorg was! Apparently, it wasn't quite up Monsieur Sinclar's street. After waiting so long to get started, Zorg wasn't going to be stopped so easily. He bought a Mac, cleaned things up and sent a demo to France's electronic music magazine Trax. The mention of Zorg's soaring orchestral strings and blunted grooves caught the eye of the formally UCMG France boss Bruno Girard, who asked to hear it and quickly realised that Zorg was an essential addition to the label's growing roster of nu-jazz and downtempo artists. The tracks showed immense promise but still needed work.
Bruno hooked the eager young man up with Flush, an engineer who could cut through the technical bumpf leaving Zorg free to compose, create and generally chill. And chill they did, for about a year, before seriously getting down to work during the summer of 2001. "It was a magical time,' says Zorg. "I finally had the feeling that things were moving forward". Rather reserved in general, Zorg became great friends with Flush, bouncing ideas back and forth. Flush's technical wizardry was the perfect complement to Zorg's creative inspiration.Magical indeed. Their complicity brought a special force to the tracks, a natural spontaneity in both focus and feeling. Zorg's troubles with his girlfriend proved to be further inspiration. Subtly crafted, tinged with melancholy but resolutely optimistic, the album was going well. Seven weeks of work and seven tracks. Summer was over, and Zorg had to go to back to college. Flush moved to Paris. The demands of studying and the physical distance between the two made extended recorded sessions impossible. As both were happy with what the results, Zorg and Flush decided that the collaboration had reached a natural end.

Zorg's Private Life was finally out in the open, ready for all to hear.
Choose the simple life!!



Discography:

La vie privée de Zorg (mole054-2) 2CD
La vie privée de Zorg (mole054p-2) Promo CD
La vie remixée de Zorg (mole054pr-2) Promo CD