A native of Besançon, on the Swiss border in the east of France, Maxence Cyrin spends his childhood behind a piano studying classical music. He goes on to study at music academy, giving him the perfect classic musical background.
Come adolescence, however, and everything changes. The young pianist starts to compose dark, fantastic and surreal bits of music. A convert of new wave and electro industrial sounds, he records his first tunes at 18 years old in a style into which he will plunge headlong until the age of 25. At the same time, he discovers techno and hits his first raves. The dance movement rapidly sweeps him along. He becomes actively involved in the scene, releasing several 12? records on independent labels such as Rave Age, Superstition and PCP.

At 25, Maxence?s life takes a new turn. He leaves the east of France for the capital, Paris. He starts to pick up easy-listening and Burt Bacharach records and becomes a fan of Elvis. Next, he succumbs to the sweet harmonies of the Beach Boys before immersing himself once again in classical music and opera.

His fascination for crooners soon leads him to give diverse live performances, whether it be at Radio Nova in Paris where he regularly sings on-air sketches or in fashionable Paris clubs like the famous ?Baron? where he becomes a resident crooner. He also write a musical, Les Valets de la hype, played in Paris at the beginning of 2005.

For the last two years, Maxence has come full circle and is listening again to new wave and techno whilst having fun reinterpreting classics from both genres on the piano. The covers work brilliantly and several notable live performances have ensued (Pompidou Centre, Tapis Rouge, Calvi on the Rocks?), as well as a first recording for the Megasoft Office 2005 compilation where he revisited the legendary Laurent Garnier tune ?Acid Eiffel?.

It won?t be long before the idea of a full length cover album emerges? the first 100% acoustic release on the label.

F Com?s point of view
The way in which Maxence works is truly exciting to us. As soon as we heard his first demos we were bowled over by a new melodic richness which emanated from these classic tunes we?d been listening to for years. Maxence?s work was all the more impressive because no musical scores exist for the pieces. He reinterprets everything by ear, albeit with the feeling of a clubber who has danced, sweated and vibed off these tunes in clubs and at raves.

In addition to the original melody, Maxence brings his own energy to play along with the rhythm: a hands-in-the-air, beaming grin type attitude. When he plays Sueno Latino, he?s unconsciously playing the Derrick May remix. Interpreting ?Anasthasia?, he gives the Belgian rave anthem a softness that contrasts with the fury of the original. However, you see another astonishing dimension to his personality and his work when playing the same set live. To hear the rhythm and the energy that a piano gives to these tunes takes you right back to the uplifting melodies of the original Chicago house tracks. It really takes you back full circle to the essence of this music.