In 1970, Frank Cochois aka The Timewriter was born into family where music played a vital part in everyday life. The soulful sound of 1970s Motown artists such as Marvin Gaye and Stevie Wonder were among his first sources of musical influence, but the Cochois household was also open to early electronic heralds such as Jean-Michel Jarre, Vangelis, Tangerine Dream and Pink Floyd. In the early 80s, it was the sound of Kraftwerk and Depeche Mode who paved the way for FrankÃÂ¢Ã¯Â¿Â½Ã¯Â¿Â½s ongoing love for synthetic music. From the age of 13, he was being trained in classical music and was sent to a music boarding school in Germany. In this time, he developed his passion and strong determination to start a career as a musician. At the age of 16 he had gathered a circle of friends who he started to experiment with in the field of electronic music while also including acoustic instruments. Their style was influenced by bands like Kraftwerk, The Klinik, Laurie Anderson, Click Click, Front 242 and The Neon Judgement, to name just a few. When Frank left the boarding school for good and finally returned to Frankfurt, he found himself another band and joined the EBM project Brigade Werther. This band toured as opener for Frontline Assembly and later Psyche all over Germany.
In the early 1990s, the band decided to take their project to the next level and produced music for multimedia theatre performances. In this time, three plays were performed: âKurzes Ultraâ, âExploding Faustâ and âSubotnikâ and it was Frank who composed the soundtracks. The plays were performed at the Freies Theater Frankfurt and earned great reviews of the two big Frankfurt newspapers. In 1994, the band members decided to go separate ways and Frank took the time to produce his first album âThe Timerewinderâ which was released under the pseudonym JFC on the label Mole Listening Pearls in 1997. The album seamlessly continued the sound and style of his previous work while also secluding an important characteristic period of creative output.
Frank began to travel on new paths when he met Tom Wax in August 1995, to whom he presented his first House track âSoul Freak Musicâ. Tom Wax then introduced him to the young and upcoming label Plastic City, and in autumn 1995 his debut 12â was released on the Plastic City sub-label Suburbia. Two more 12â releases followed on Suburbia: “Did my Time” (PLAS006), and “Smashing Friendship” (PLAS009). Plastic City gradually began dedicating itself to the upcoming Tech-House sound and it was The Timewriter who played a key role in establishing this new sound. February 1997 witnessed his first Plastic City 12â release with âLetâs Keep Our Love Goingâ. Shortly thereafter, his debut album âLetters From The Jesterâ (PLACCD/LP006) hit the record stores land was ardently embraced by the worldwide dance community – and received stellar reviews in the worldwide press. Muzik Magazine UK wrote: “This is the real 21st century soul”. In autumn 1997 ,“So Much Pain Inside” was released from the âJesterâ album, the last of the Plastic City Age of Search and Destruction Era.
His second album “Jigsaw Pieces” released in May 1998 showcased his characteristic atmospheric house sound that is unique to The Timewriter. Described by many as “Art-House”, “Tech-House” and even Mood Music, “Jigsaw Pieces” creates a sound that captivates from the beginning to end. With this album, The Timewriter truly lived up to his very own idea of never compromising his own principles. The 12â taken from this album (“The Way” featuring a Bonus B-Boy mix of “Lost in Lyrix”) was released at the end of July 1998 on Plastic City (PLAX007). Apart from his own productions, The Timewriter did some much acclaimed remixes for the likes of Mike Oldfield (âFar Above The Cloudsâ), Faithless (âThe Long Way Homeâ), Yello (âWheelsâ), Boy George (âGenerations of Love) and Kool & the Gang (âAlwaysâ).