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For the generation who grew up in the 1980s watching VHS movies with synth-laden soundtracks, the city of Los Angeles has an evocative allure. Palm tree-lined boulevards, seedy dive bars, fast cars and big hair – the sense of nostalgia for this period of extravagance and optimism leaves a strong impression on those who were raised on this particular strain of Americana. Parisian producer Krikor Kouchian is no different, and it’s this very feeling that he’s explored on his new album, Pacific Alley.

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In the past Krikor has largely released music using just his first name. His discography reaches back to the late 90s and a variety of different styles, from lively ‘French touch’ club tracks to chopped up micro-sampled house, even dabbling in indie rock / electronic crossovers on labels like Tigersushi. Throughout this time the consistent feature in Krikor’s work has been a restless energy and a bold sound palette – you tend to notice when one of his track gets played.

Celluloid signifiers

Pacific Alley is a more reflective record than some of Krikor’s previous work – for every lively dancefloor track there is a moment of melancholy – and this duality matches the artist’s own feelings about the city he chose as his muse for this project.

“I always wanted to do something about Los Angeles because it’s a city I love and hate at the same time,” says Krikor. “When I was making the record I was thinking about classic West Coast hip hop and funk stuff, but I didn't want to just make a retro record. I had a much more visual vision of LA in the rain. The influence finally for the record was movies by directors like Michael Mann rather than music by itself.”

The album could easily pass for a soundtrack, it’s made up of short, distinct vignettes that play out like individual scenes, but the unmistakable flavour of the 80s and 90s is hard to miss in the gated snares, warbling synth lines and slap bass licks. The backwards glance also translates to the videos that Krikor and Nathalie Gasdoué have made to accompany the album.

“The video to “Niños Matadores” takes a lot of footage from ditch parties that happened in people’s backyards in LA in the 90s, and also a lot from 90s talks shows,” Krikor explains. “The main idea was to show a particular time in Los Angeles. We then mixed that footage with stuff we filmed with a green screen and an analogue modular video synth called the 3TrinsRGB.”

Capturing the creative spark

Although he was using modular equipment for the videos, Krikor’s main ingredients for the music onPacific Alley were a more modest, focused selection of old drum machines, synthesisers and effects units that he used on every track in a bid for a cohesive overall sound. He also placed limitations on himself to complete the music as quickly as possible.

“The record was written very fast,” he explains. “Most of the tracks took 10-15 minutes to write, and then in two or three hours the music would be mixed. Sometimes you can lose yourself in editing - the faster you do it after you write the track, the less chance you have to lose what it is.”

Krikor credits his embrace of creative limitations now with years spent producing solely on computers, initially using an early version of Live in 2001 and exploring Max/MSP as part of his studies at the Conservatoire in Paris.

“Giving myself musical barriers for this project was not about obsessively trying to reproduce the sound of a particular era, but more to prevent myself going too crazy and losing the point of the album,” he reasons. “I often set up my DAW to be loaded up like a mixing desk, with no more than eight tracks and two effects. I think this is a good way of sometimes using a computer, to not get overwhelmed by the possibilities. I ruined many tracks in the past by overworking things.”

The tools of the trade

Playing a starring role in Pacific Alley: Krikor’s modified Casio RZ-1 drum machine

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Even if he didn’t set out to make an explicitly ‘retro’ album, Krikor used older equipment at the start of the signal chain, inevitably resulting in music that captured a particular moment in time. Central to the kit list was his modified Casio RZ-1 drum machine, which had custom soundbanks loaded into it featuring samples from the classic LinnDrum, TR-808 and CR-78 machines. The 8-bit processing of the RZ-1 gave these familiar sounds an additional digital crunch.

“I would record everything into Live,” Krikor explains about his creative process on the album. “Usually I would start building up some drums and then work in the synth parts, recording a take and modulating each part in real time. On this record I didn't do much editing, but the drums on the RZ-1 were a bit too dirty by themselves just coming out of a mono output, so after the initial jam I would record all the parts on the RZ-1 separately and rebuild what I did inside Live. This way I could mix it a bit cleaner.”

As well as the RZ-1, other key instruments included the Roland Juno 2 and Yamaha DX100 synthesizers, but one of the more cult units included on the album’s equipment list is the Fairlight CMI. A notoriously expensive, rare and complex synthesiser, the Fairlight is the origin of some of the quintessential sounds of the 1980s thanks to its use by acts like Herbie Hancock, Art of Noise, Jan Hammer and more. However, Krikor is the first to admit he doesn’t have the budget or connections to use an original Fairlight on his album.

Herbie Hancock putting the Fairlight CMI to good use in the 1980s

Krikor reveals that he “used the Fairlight emulation on my phone, and this is a very big part of the record. The application was made by the guys from Fairlight, so it's the same sequencer and the same basic sounds. I used the internal sequencer and put it in Live through a digital and MIDI box I have for my phone. It's efficient, with no latency, and it sounds really good.”

Part of the process

While the compositional side of writing Pacific Alley was focused o

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