From Parisian roots to Berlin’s techno heart, JP Lantieri has had releases on labels like Krafted Underground, Dynamica, Stellar Fountain, Clinique, Transpecta or his own Flemcy Music, remixes by Stan Kolev, Robert Babicz, Paul Hazendonk, Rick Pier O’Neil, Aaron Suiss, Amare, Lorraînne or Tamer Fouda. He’s played at iconic venues like London’s EGG and Ministry of Sound or the Full Moon Party in Thailand.
He also compiles his 10-year-old monthly Enigma Show broadcasted on selected radios. Inspired by the likes of Artbat and Kevin de Vries, and some of his tracks having been played by former world #1 DJs Hardwell, David Guetta and Paul van Dyk, JP Lantieri’s style continues to evolve towards a deep, melodic, progressive techno sound.
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“Joy” is your latest single on Flemcy Music. What inspired this track, and how does it reflect your musical evolution?
A couple of years ago, I went through a challenging period of burnout, which is quite unpleasant and can leave you feeling worthless. To overcome this, I set myself a challenge: to create one track each week for six months. I accomplished this, resulting in 26 tracks, and “Joy” emerged from this process.
The inspiration for “Joy” comes largely from deadmau5, particularly his melodic ideas rather than his signature chord progressions. I adopted a structure similar to what he often uses while crafting a new melody and incorporating fresh sounds. I aimed to convey emotions through “Joy” which is both positive and slightly melancholic.
Ursarix’s remix adds a new dimension to “Joy.” How did this collaboration come about, and what do you feel the remix brings to the release?
Ursarix, who is from Poland, and I, from France, are both members of a music producers group. We first met in London during a gathering of this group, where he expressed his interest in remixing my track “Joy,” which he loved.
To make a long story short, Ursarix has been incredibly busy since then, and it took a year along with several revisions to finalize his remix. He presented it to me last October during ADE in Amsterdam, and I was immediately impressed. He did an exceptional job by reworking the sounds and the rhythm, even changing the key and introducing new elements, including a beautiful vocal, all while preserving my original melodies. It truly is an epic masterpiece!
You’ve released music on prestigious labels like Black Hole, Stellar Fountain, and many others. How does running your label, Flemcy Music, compare to working with these labels?
Operating my label is quite time-consuming, especially since I strive to provide my artists with quality service, including effective promotion, which some other labels sometimes overlook, despite it being their primary responsibility.
Flemcy Music releases music at a lower frequency, which allows me to dedicate more time and resources to promotion, ensuring that the tracks reach a wider audience, including listeners, DJs, and curators.
Your tracks have been played by legends like Paul van Dyk, David Guetta, and Hardwell. How does it feel to know your music resonates in their sets?
The first time a top DJ played one of my tracks was four years ago when a friend informed me that a mashup I created was featured in one of Hardwell’s “Off The Record” mixes. I still don’t know how my track reached him, but the fact that he played it and credited me gave me goosebumps.
Interestingly, both Paul van Dyk and David Guetta played my track “Forty Something” in their online sets when it was released last year. I was ecstatic, especially since, like many artists, I often doubted my work and thought this track wasn’t particularly strong. It’s always surprising to discover that people’s preferences can differ significantly from my perception of my music. It’s incredibly gratifying when such acclaimed artists choose to play my tracks.
You’ve performed at iconic venues such as Ministry of Sound and EGG in London. As well on unique festivals like the Full Moon Party. What has been the most memorable live moment of your career?
I’ve had many remarkable (and some not-so-great) moments in my career. The various times I’ve played in the techno room at EGG, London, have always been high-energy experiences. One standout performance was at Iron Fairies in Kuala Lumpur, which was simply amazing. Additionally, the crowd response I received at the lovely Hogsozzle festival near London was epic.
Your career features collaborations and remixes with artists like Stan Kolev and Robert Babicz. What has been the most valuable insight or experience you’ve gained from these collaborations?
The first realization is that these artists are just like anyone else: they are approachable and down-to-earth once you reach out to them. Secondly, I’ve learned that they are all dedicated hard workers. All continuously striving to improve their craft, even when they are already considered at the top of their game. This dedication is incredibly inspiring.
You compile your monthly “Enigma Show,” broadcast on multiple radio stations. How do you select tracks for the show, and what is your vision for these sets?
It’s hard to believe that my 174th Enigma Show is on air. The tracks I feature in the Enigma Show primarily come from the promos I receive. Occasionally they are supplemented by tracks I discover on Beatport or in other DJ mixes.
My shows usually focus on progressive house and melodic techno, with occasional forays into deeper or techno sounds. Each time, I aim to create a dynamic journey with peaks and valleys.
As a vintage wine enthusiast, is there a connection between your passion for wine and your creative process in the studio?
The connection is more of an analogy than a scientific one. Just as a vintage wine evokes amazing emotions through its colour, aroma, and taste, and stands the test of time, I strive to achieve a similar effect with the tracks I create—crafting enduring emotions.
May I wish everybody a fantastic year 2025 full of great music!
Thank you!