Hailing from Lausanne in Switzerland, Philippe Weiss spend a large amount of time in his formative years building up and impressive vinyl collection, comprising osscure glonal funk, jazz, hip-hop and anti Euro pop, while doing the rounds on the DJ circuit. Harnessing a natural gift for audio engineering and electronics, Philippe left Switzerland at the age of 20 and headed to Paris, where his enourmous ambition and extroadinary talent placed him firmly at the centre of the French and European dance music scene.
“But you can come from anywhere and make it,” says Philippe nonchalantly. “I’ve always believed that, and I still do.”
The first studio Philippe worked in was the famous Studio Davout in Paris. There he worked with the likes of Reggae luminaries Sly & Robbie, and the Red Hot Chili Peppers.
Since those early days in Paris Philippe has worked with a huge range of artists including the Beastie Boys, Cee-Lo Green and Madonna. More recently he was been working with George Clinton, Black Coffee and Wyvern Lingo.
The man himself however shies away from such adulation. A private technician devoted to the purity of sound, Philippe shuns fame and conducts business in his own way, whilst all the while focusing on the music as the most important element of all, often reaching the point of exhaustion as he nears the end of each project. In his own words, Philippe is "not interested in pumping out songs like a factory, I’m interested in the music itself. And when I’m with you, I’m really with you.”
There's no doubting Philippe's legendary instinct and natural talent. Proven no more so by the fact that he mixed his first single at the age of 23 whilst an untrained studio assistant in Paris, only to see it sell 100,000 copies upon release. Have a listen to Assasin and the NWC MC's Supernatural and you'll see what we mean.
“I think I understand how a song should sound through the radio,” says Philippe. “I can make a song sort of speak to everybody, the 7-year-old, the club kid, the 77-year-old. I know how to be the interface between what an artist has in his head and the final product he’ll get behind and perform, proudly, for years.”
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