In the realm of electronic music, few collaborations embody the intersection of sound, art, and history quite like H.L.M. Composed of Andrew (Andrew Claristidge of Acid Washed), and Guillaume (of The Garçon), this project draws from decades of artistic experience, blending their individual passions for experimental sound, industrial aesthetics, and the legacy of the places they’ve inhabited.
Their album, titled Ruines, Béton & Industrie out via Berlin label Le Petit Signal explores themes of decay, transformation, and the tension between past and present, creating an evocative, immersive sonic landscape.
In this interview, we dive into the creative forces behind H.L.M., exploring how their shared history, the influence of their hometown Grenoble, and their approach to both collaboration and independence have shaped this groundbreaking album. From their early days in the 90s to the realization of their first LP, we discuss how their diverse backgrounds in electronic music, sound art, and visual culture collide to create something truly unique.
The title “Ruines, Béton & Industrie” evokes images of decay and transformation. What does it represent for you, both sonically and conceptually?
AC: I see this subject as an infinite source of inspiration. Architecture and its transformations within the time has a huge impact on my creativity. I like to walk into towns and getting lost. It is a chance to discover the way a city is being built and the influence its structure has on its population for instance… I remember when I visited the first time São Paulo: the mix between nature & moderne architecture had a strong impact on me. The contrast between the old and the new areas was huge.
We lived in Grenoble which I consider being a post industrial city… Practically, we could wander into old abandoned factories not far from the city center… We partied often within those ruins. Being a young adult at this time, it created memories and also a fascination for those abandoned places.
I often visit Brownfield lands. Their atmosphere brings me always new ideas. I like the peace they often bring… Also I am addicted to reverbs you can find into huge empty spaces! So yeah I like unused facilities, the way they look, the way nature is growing back into those…
GL: The title for our first LP is in line with our name H.L.M. (Habitat à Loyer Modéré). I lived for several years in an abandoned industrial wasteland, which we squatted (Le Brise Glace and la Baraque). This experience had a profound impact on me. We were in a utopia of transformation into an alternative place from an industrial past.
In love with the images of the ruins of Detroit by Yves Marchand and Romain Meffre. The desolation and its sound environment have always inspired me.
They have a great importance in my lyrics and music.
Your collaboration spans decades, yet your first recording only came together in recent years. How did it all start and how did the passage of time shape the way you approached this project?
AC: Well, since we met first in the 90´s we had this musical bound with Guillaume. I respected so much his work back then when he had his band / project called The Garçon. But we did not succeed at first to achieve something because we had to, I guess, first found our way to create for ourselves. Guillaume as a visual & sound artist and me as a DJ and composer…
But true friendship stays within years… I am pretty sure this long time without seeing each other stimulated even more this wish to create something together. I think our experiences (over 30 years) is essential in the way we record music nowadays. We have more abilities to « cut the crap » 🙂
GL: As Andrew says, our personal experiences have shaped our music.
It was not written that we would meet again! And even less play together; but when Andrew played DJ set in Bordeaux (where I live) in 2019; he contacted me again.
After realizing that we were still on the same wavelength, we very quickly found ourselves exchanging desires to do something together with our respective experiences.
I had left my electro compositions aside a bit to focus on experimental music; I had not written or sung for a long time. Andrew convinced me to take up this dimension again. We quickly realized that the fusion of our two universes could be worth it.
Grenoble has a strong legacy in electronic music. How do you see your work in relation to that scene?
AC: Grenoble where it all started! My first RAVE… The scene in the late 90´s was great over there. Lots of talents started or gravitated there. Grenoble was a great hub. Its art school brought lots of creative people. We often interacted in parties, events, squats… It was very vivid and exciting.
I remember going to Kiko´s vinyl store called Ozone. You would meet The Hacker, Kittin, Oxia and so many more musicians and DJs. We also had good clubs which were ahead there time: le Factory, CO2… even bars offered great parties like Le Saxo, Mark XIII…
The rave scene also brought a huge influence with The Spiral Tribe which stayed in Grenoble for while. We all learnt from each other. So yes the city has a major impact on the music we created and will create for H.L.M.
By the way we are not only speaking about Grenoble legacy in electronic music but also speaking about modern art… many respected artists emerged or worked in Grenoble like Saâdane Afif, Étant Donnés, Vidya Gastaldon, Matthieu Laurette, Serge Comte…
And did it influence the album in any way?
GL: Grenoble does not only have this heritage, this city has had its years of Alternative glory; many squats tolerated by the city hall of which I was part of (Le Brise Glace, La Baraque, les 100 Couverts …) and the emblematic 102, a mecca for experimental cinema and music, which still exists.
Its « 38ème Rugissants » festival.
It’s Metamkine experimental cinema lab. The last years of glory of the Beaux Arts school, where I finished my studies. Many personalities who are influencing Contemporary art today: Gisèle Vienne, Serge Compte, Vidya Gastaldon, Saâdane Afif, Cyrille André, Gaelle Rouard … emerged from this City. And of course, the Rave and free party scene, which has established itself in Grenoble and its surroundings as an obvious choice.
So, of course, being twenty and participating in this bygone energy, has more than influenced my work and research.
H.L.M. is one of the results.
Your creative process involved a mix of in-person sessions and long-distance exchanges. Did this challenge or enhance the way you worked together?
AC: I believe that a good dynamic can be found in long-distance exchanges especially for creating concepts. I like to take time (a lot of time in order to think about a project).
To be honest I am really shared concerning creative process as I also love to find us in the same studio to record, have fun with Guillaume. But I also love to be by myself when it is time to put the final touches and finish songs. So I would conclude that this mix between distance and proximity enhanced the way we worked on this LP.
GL: The frustration sometimes of immediacy has certainly been beneficial to take enough of a step back on the pieces. Our concept is this:
I propose to Andrew my musical compositions with vocals and lyrics, he gives me feedback on different elements. We discuss at length on the intention of the piece. I refine and re-propose. Once agreed and validated, the magic of his arrangements make our pieces.
It can take several weeks between. I think it has been beneficial. Without obviously removing the pleasure of trying together physically.
There’s a strong sense of narrative in your press text – almost like a dystopian or sci-fi story. Do you see the album as a kind of conceptual journey?
AC: I see that the books I read, the films I am watching, the podcasts I am listening to … have an influence on the music I am (we are) creating. The narrative is very important when you record an album. Yes the concept is to be found in the title and within the songs.
GL: For this album, the songs did not have their place defined beforehand.
It was when we thought we had enough songs that we arranged them. Lovers of Vinyls and especially today in which the consumption of singles without listening to the rest, made that the placement of the songs was carefully considered.
There is yes a possible journey. The lyrics are very important too. I strongly advise to translate them!!
From sound art to electronic music, your backgrounds span a wide spectrum. How do these different musical identities merge within HLM?
AC: Well it collapses in the studio : ) I see H.L.M. as a creative unit. So we are both bringing our skills and ideas in a common place. Then we have a great ability to collaborate and find way to discuss and make quick decisions in order to make our songs a great meeting point of our large spectrum and our differences.
We both have 2 different visions of our art but H.L.M. found its own language, its own alphabet… its own sound.
GL: Haha… well… To prove this fusion; I have nothing to add!! ;))
If you had to describe the album’s mood in just a few words, what would they be?
AC: deep, dark, avant garde pop & vibrant.
GL: Vibrant & avant-garde on the past, Bright on the dark, Deep on the pop !!!!
The record is coming out on LPS, a label known for embracing experimental and avant-garde music. How important is artistic freedom in your work, and how did your collaboration with the label come about?
AC: I met Assaf in Urban Spree, a great venue in Berlin, few years ago… I liked him as a person, as a musician… The punk aspect of his personality touches me. I like when people use DIY systems in order to create something special. Le Petit Signal is so homemade. On top of the fantastic music he is releasing, there are always cutting edge artworks, inlays… etc… Last thing but not least, Assaf trusted us 200% with the music… Total freedom is very important for us.
GL: I totally agree with what Andrew says about Le Petit Signal. The artistic dimension of this emerging label suits us perfectly.
Do you have any plans to perform the album live, or any other future projects in the works?
AC: sure. We are opened to play gigs. We are currently working on our LIVE performance. It takes time to present such project to the public. As we are not young anymore we are even more careful with what we want to offer. We want to create something special, something to remember…
I like the way The Residents presents their concerts, almost like a lifetime experience. We will announce few things soon. Otherwise soon we will have an other track being released on a compilation called « The Only Good Wave Is A Dead One » on Underground Pacific. And we are almost done recording our second LP.
GL: The LIVE version of our music will be very important to share our H.L.M. concept. We are also thinking about where to perform. The concert hall format is not necessarily adapted to what we hope and want to…
Coming from plastic arts, our place can also be in exhibition spaces.
It will be a real joy to go LIVE. And yes we have plans for fall 2025!!
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