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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.

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.

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Celluloid signifiers

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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.”

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The tools of the trade

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

Even if he didn’t set out to make an explicitly ‘retro’ album,

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