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Djinxx, The Soul Monkey’s bounces:

Djinxx made a name for himself in the early 90s as a DJ in electronic music field: a time when everything has to be created from beats to lifestyle to career prospects. Born under the combined signs of dance and music, the southerner is aware of this legacy and defends the values of a living and dancing music as a DJ as well as a producer. His path, from the frantic dance floors to records production on Mangusta or F-Com, progressively compels recognition on the electronic scene.

Djinxx on the move:

One of his pseudonyms, The Soul Monkey, gives a glimpse of Djinxx’s disposition. The animal knows how to land on its feet. The man knows he has to try his luck and seize any opportunity. His path renders perfectly this theory. At the age of three, his father brought him in club (He was a night-addict in the true sense of the word. He was the one who passed on this culture to me). Not at all surprising that we meet up with the young Karim, as early as the age of twelve, in Italian clubs (he stayed there for nine years) where he used to work as a dancer, and in the south of France where he hosted hip-hop street battles and dance workshops. Yet, at the age of seventeen, a DJ being late caused him his first emotion behind the decks, in front of two thousands people. It marked a turning point: for some times he is lent a mixing gear, he practices organizing parties during his military service to come just at the right time for the house and techno revival in 1995: «radios didn’t play house music, there were good records released, mainstream parties didn’t‚t exist. We were fighting to impose our style!.

House music as a target:

Even if electro-funk tones have help Karim to be disciplined to electronic textures, even if techno was Djinxx’s favorite scene when he started out, house music turns out to be the best medium between the DJ and the audience. Encounters began to give rhythm to his career like a bass drum beat punctuates a good dancing track: it increases your self-esteem working with people who have some experience and things to tell with their music. To be an artist it is to be an entrepreneur as well. These kind of contacts make a career move forward.

In 1998, just to poach on other territory, Djinxx left to Amsterdam during ten months, then in 2000, he flew to Miami to live the American dream. Djinxx found support with Eric Omores the French guy head honcho of Nikki Beach and Bash and with Tony Guerra from New Jimmy’s. During three intense months Djinxx feels at home: he struggles to survive, mixes every week-ends hanging with artists such as Junior Sanchez, Ron Trent, Roy Davis Jr, Stacey Pullen and Paul Johnson. He is invited by George Morel (Groove On prod./Strictly Rhythm) in his studio where he stayed for two days. He even managed to run off with a second best DJ prize at the Winter Music Conference…

On the vinyl:

On the production side, after he ran away to Miami, Djinxx blew his last US dollars in the purchase of machines and settled near Aix, in the mining city of Gardanne, “a kind of small-size Detroit” he likes to say… The connection, made in Miami with Deep Touch, leads to the release of three titles. Then, with So True Recordings, the label set up by Djinxx in association with Limited Editions, some other compositions lead to a series of five EPs named The Unexpected. Some remixes will follow for producers such as Ron Carroll (The Sermon on Riviera, High Again on Black Jack), Sébastien Léger (Victory EP along with Josh Wink on Black Jack and Defected), Carlos Fauvrelle (Talking on Serial), David Duriez… In April 2003, Serial released The Time Out Gallery noticed, among others, by DJ Mag (rated 5/5 in their columns) and was elected «record of the month» by Roger Sanchez. At the same time Djinxx expands remixes of deep-house artist, keyboard player and producer, Néo (Smoking Blues et A Night in Marseille on Black Jazz) followed by a real collaboration with the musician on the double EP (Let’s Have a Party), crossover between funky jazz and house music. And above all, our man christened Mangusta‚s debut releases, another label from Grosso Modo Production galaxy with some unrealized EPs (My Clouds, In Your Heart, Rain in Africa, The Music Takes Control) heralding the album Travel Notes. This house music LP, all composed arranged and produced by Djinxx, released in June 2003 gets good feedbacks from David Duriez, Josh Wink or Laurent Garnier. His singles receive a remix treatment by Stacey Pullen on In Focus, John Tejada and Didier Sinclair on In Your Heart Again. As regards the Youngsters and Fafa Monteco, they deliver a version of the very deep Music in Jamaica. Quite a nice lot. 2003/2004 marks a real turning point. On one hand, Djinxx settles in Paris gaining a foothold in the capital’s clubs, on the other hand he is booked all over the world.

In the course of the year, the machines race out of control with appeals from German labels Karmarouge (one EP to be released in summer 2004) and Tom Clark’s Highgrade (one EP in late 2004). And, above all, Laurent Garnier hadn’t kept an eye on Djinxx during months for nothing: the impeccable label F-Com releases three tracks for the summer 2004: The Transfer EP has for the occasion, led Djinxx on techno territories he well knows. The odds are this new bounce will not be the last.

Hervé Lucien May 2004-Translated by Raphael Messand.