{"id":153105,"date":"2026-02-21T11:55:23","date_gmt":"2026-02-21T16:55:23","guid":{"rendered":"https:\/\/panm360.com\/interviews-panm360\/s-a-t-amselysen-entre-fiction-politique-et-culture-du-produit\/"},"modified":"2026-02-21T16:57:04","modified_gmt":"2026-02-21T21:57:04","slug":"s-a-t-amselysen-entre-fiction-politique-et-culture-du-produit","status":"publish","type":"interviews","link":"https:\/\/panm360.com\/en\/interviews-panm360\/s-a-t-amselysen-entre-fiction-politique-et-culture-du-produit\/","title":{"rendered":"SAT | Amselysen between political fiction and product culture"},"content":{"rendered":"\n

During his visit to Club S.A.T., Amselysen presents on stage<\/strong> the culmination of a project that has been a long time in the making: American Vulgarities, You’re My Lucky Star<\/em>. He refines a more embodied, more direct approach.<\/strong> In this interview, he looks back on the evolution of his live performances, the influences of his years in a band, and the conceptual dimension of the album, where political fiction, irony, and marketing strategy intersect as an artistic gesture.<\/strong><\/p>\n\n\n

Publicit\u00e9 panam<\/span>
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Performance as an outcome<\/strong><\/h2>\n\n\n\n

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Amselysen: It’s going to be the culmination of the material from American Vulgarities, You’re My Lucky Star. The album is in its final stages and quietly preparing for release.<\/p>\n\n\n\n

I had the opportunity to tour Europe, which allowed me to refine some of the material. The prototype was first presented on May 31, 2025. After that, I went on tour with the album and composed a few new songs.<\/p>\n\n\n\n

J’ai pu raffiner tout le processus. \u00c0 Club S.A.T., \u00e7a va \u00eatre l\u2019aboutissement final de cette tourn\u00e9e-l\u00e0. C\u2019\u00e9tait un privil\u00e8ge de pouvoir vivre cet album en live avant sa sortie, une chance que je n\u2019ai pas toujours eue avec mes anciennes parutions.<\/p>\n\n\n\n

PAN M 360: How has the tour changed your approach to the project?<\/strong><\/p>\n\n\n\n

Amselysen:<\/strong> The first time I performed live, I realized that what interests me and what interests people is when I pick up the microphone. That was the first step toward returning to a more embodied dynamic. Then I thought to myself that now that everything was back on the table and I no longer had to adhere to a self-imposed technical standard, it was time to bring the bass guitar back into my music.<\/p>\n\n\n\n

I used to have a band, largely inspired by the Californian duo The Garden<\/em>, who gave me the courage to release music. It was a pastiche of their lineup: guitar, bass, vocals, and drums.<\/p>\n\n\n\n

I brought back the bass as a lead instrument, very prominent on certain tracks. There are also live percussion and mini beatboxing samples added to give a little flavor to the very electronic drums, which were composed using oscillators rather than samples.<\/p>\n\n\n\n

I tried to breathe new life into the whole thing. Lots of vocal improvisation, a few slightly ridiculous interludes. At times, it almost becomes a comedy sketch.<\/p>\n\n\n\n

PAN M 360: How do your years in bands influence your current practice?<\/strong><\/p>\n\n\n\n

Amselysen: It’s years of living live music 100%, and also messing up. It’s happened to me a lot, an absolute disaster on stage. It sounds like a LinkedIn post, but it teaches you stress management, how to deal with failure, moderate your expectations, and recover from accidents in live situations.<\/p>\n\n\n\n

Amselysen is conceived as a concert project, structured in terms of songs, even for the instrumentals, rather than according to logic more strictly linked to dance music such as techno.<\/p>\n\n\n\n

PAN M 360: An even more LinkedIn-like version?<\/strong><\/p>\n\n\n\n

Amselysen:<\/strong> Screwing up on stage eight times taught me a lot: B2B interactions with the audience, managing demographics and audience size, public relations, PR, and dealing with failure in a professional environment.<\/p>\n\n\n\n

An album between fiction and reality<\/h2>\n\n\n\n

PAN M 360: What does the title American Vulgarities, You\u2019re My Lucky Star<\/em> represent?<\/strong><\/p>\n\n\n\n

Amselysen:<\/strong> The name was decided before the current political dynamics in the United States. I wanted to construct a form of docu-fiction through the track names, imagining a potentially terrible political reality.<\/p>\n\n\n\n

But as time goes by, reality is surpassing my fiction, which was already quite dystopian. I felt the need to emphasize the slightly cruder, more vulgar side of the project in the process.<\/p>\n\n\n\n

PAN M 360: Do you have a release date?<\/strong><\/p>\n\n\n\n

Amselysen:<\/strong> Until everything is finalized, I don’t want to spill the beans. I’m in talks with a record label.<\/p>\n\n\n\n

I am also developing the marketing campaign, which plays a central role in the album. It has been designed with a visual dimension, not audiovisual, but conceptual, inspired by Theodor Adorno’s theory of the fetishization of music, Guy Debord’s The Society of the Spectacle<\/em> and Georges Bataille’s The Accursed Share<\/em>.<\/p>\n\n\n\n

There is a reflection on the objectification, commodification, and fetishization of the product. The idea is to turn it into something akin to a fashion item, an object intriguing enough to attract an audience that would not naturally be interested or that would be very new to the field.<\/p>\n\n\n\n

I am in the process of producing this material.<\/p>\n\n\n\n

PAN M 360: So marketing is also becoming an artistic endeavor?<\/strong><\/p>\n\n\n\n

Amselysen:<\/strong> Listen, there’s nothing more American than turning marketing into a form of self-expression. Thematically, it fits perfectly with the concept of the album.<\/p>\n\n\n\n