Producer, DJ, music journalist, podcaster… Onelight is an artist who wears many hats. On the occasion of his fifth album Autobody — a bold blend of experimental electronics and contemporary R&B/Hip-Hop — he sat down with us to talk about his creative process, his influences, his collaborations, and his vision of independent music.
Autobody: an album between experimental electronics and contemporary R&B
How would you introduce Autobody to someone who doesn’t know your music yet?
I would happily describe this fifth album as a blend of experimental electronic music and contemporary R&B/Hip-Hop. It is clearly my most accomplished project to date.
What were your inspirations and influences for this project?
There are always quite a few. Artists like Sophie, AG Cook, Flume, Jimmy Edgar and Machinedrum have been lasting inspirations for me over the years. They are artists who manage to invent or reinvent musical styles while always keeping their own identity — there is no greater inspiration than that for me. And going back a little further, that’s exactly what artists like J Dilla and David Bowie were doing, and they continue to inspire me deeply.
You’re a DJ, producer, music journalist, podcaster… Is music production the natural extension of all that?
Absolutely! I have an insatiable need to create and share, whatever the medium. Music production is not only the extension of all that — it’s the ultimate level, really. It’s genuinely amazing to be able to create a musical piece and share it with as many people as possible. It’s also the most complex and demanding approach, of course.
Music niches: from underground to mainstream
You recently performed at the Musée des Beaux-Arts in Draguignan around the theme of “Dutch rare groove.” What music niches excite you today?
Music niches have shaped my journey as a DJ since the late 2000s. And quite a few artists from those niches have gone on to become massive — like Flying Lotus and Hudson Mohawke, who both came from the Beat Scene/Wonky world and later worked with Kendrick Lamar, Lil Wayne, and Kanye West. That shift from niche music to the mainstream fascinates me enormously. More recently, there’s been the whole Fractal Fantasy crew with Zora Jones, Sinjin Hawke, and Xzavier Stone, and of course Fade to Mind with Kingdom. It’s extraordinarily inspiring to me.
Building an album in the streaming era
How did Autobody come together — singles first, then an album, or the other way around?
The project started over three years ago with five tracks. As it progressed, I realised the tracks were really strong and that each one deserved to be a single. I was then able to add four more tracks to make it a full album. Releasing a few tracks ahead of time allows them to live as long as possible — it takes so long to make sung tracks that I want them to get maximum visibility.
Is the album format still essential to you?
It is, yes! To create a real universe, putting out an album is still something I feel compelled to do. Especially since my albums are always conceived a bit like DJ sets, I could actually play — that really feels like me. That said, I think from now on I’ll focus on releasing strong singles only, because working on a project for over three years is exhausting, costly, and pretty stressful.
Visuals, social media and artificial intelligence
Is producing visual content for social media as much work as producing the music itself?
Working on the visual side is just as demanding and intense as creating music — more so, sometimes. Today, as a small indie artist, you have no choice but to have images and videos. What people call “content.” When I started as a DJ 20 years ago, it was different, and you didn’t need to put yourself out there as much. I miss that — it’s exhausting and time-consuming. But I think you have to move with the times. I’m lucky to work with Tayreeb on all the visuals, and we genuinely have a lot of fun. These days, I manage to enjoy publishing content that feels like me — and that’s the most important thing.
As a producer, what’s your take on AI?
We actually used AI quite a bit for the album’s visuals, and it’s a genuinely mind-blowing tool. The possibilities are endless when you have ideas and a vision. Of course, certain aspects need to be regulated, and it has quite a significant ecological footprint. But as a tool, I think it’s fantastic. You just have to remind yourself, as with any new technology, that we are in control of it — not the other way around.
Collaborations: vocals, dreams and upcoming projects
How do you approach your collaborations with vocalists?
I’ve been working with vocalists since my very first album. A catchy voice over an experimental instrumental is a combo I find genuinely exciting — it’s what gets me most fired up. It started out from a place of being a huge fan of the artists involved and wanting to work with them. Today, it’s more about the vibe and finding the right voice to match the instrumentals I’m making. For now, it all happens via email or DMs, with the artists sending back the recorded parts. It’s fairly spontaneous, and it lets the music speak for itself. I’d love to work in a studio together, too — maybe that’ll happen down the line.
Who would you most like to collaborate with? And a track in French — is that on the cards?
I’d absolutely love to work on a track in French — it’s been one of my goals for a few years now. I just need to find the right artist who gets what I’m going for. There’s a really exciting new French-language scene out there. On the R&B side, working with Tinashe, Rochelle Jordan, Kwne, or Joyce Wrice would be a dream — or an MC like Aminé, that would be insane!
What about producing an entire album for another artist, from start to finish?
Yes, absolutely — I think about that often, actually. It’s a massive undertaking, but I’m sure it could be something incredible.
Onelight live and independent
What would be the ideal live representation of your work?
Given the music I make — with so many sung and rapped tracks — a full live show would be pretty complex to put together, since you’d need a vocalist who could handle everything. It’s not impossible, but I’m not sure it would fully satisfy me. I’m more comfortable doing DJ sets — that suits my music better, in the way that Kaytranada or Sam Gellaitry do it. I love playing DJ sets, and I’d really like to perform more, especially to support my projects.
You work with a small team around you — almost like a mini label?
Yes, I work with a small but brilliant team. Tayreeb and Eric Marine have been by my side for mixing, mastering and sound design from the very beginning. Benjamin / Baron Rétif supports me on the publishing side and has always been a great ally. And I still work with Alter K for distribution and publishing. It’s a bit like having a label — except I only release my own music and I’m completely free. That’s the privilege of being an independent artist.
What’s next: a new single and maybe a return to the mic
Any upcoming news you’d like to share?
I’m planning to release a new single before the summer. The track is finished — it’s a feature with an amazing American artist called Davionne. A Slow Jam R&B track, exactly the kind I’ve been dreaming of making for a long time!
Could we hear you hosting a podcast or radio show again?
I’d love to get back behind the mic to share music — but I’d need to find the right platform to do it properly.
Interview conducted on the occasion of the release of Autobody, the fifth album by Onelight, available on all streaming platforms… and soon to be available in physical format too!
