Laurent Garnier: “I used to be able to work without lots of knowledge and the skills that basically every techno producer is supposed to have. While recording Shot in the dark, I worked almost by touch and by trial and error, finding sounds and melodies in my head and sometimes accidently coming across something interesting. But this time I wanted to tell a very specific story to my listeners and for that I had to work neatly and professionally, basically as a real producer.
I had a minimalistic dance thing in my head for a while. I played the bass line, looped it, added a kick drum, hi-hat, compressed it and, in order to give my ears some rest, went for a walk. When I came back, I listened to the track again and decided that something was missing. Then I re-recorded it on a DAT, turned on the MS20 and, pressing one of the keys of the keyboard, I started twitching the modulator buttons. This time the result fully satisfied me—it was a super-lifting track, one of those that DJs play when they want to explode the dancefloor. I took a cassette box and wrote two words: crispy bacon.
A week later, Jeff Mills who had a transit in Paris, came to visit me. I asked him to listen to Crispy bacon Jeff listened to it without saying a word with a smile on his face and when the track was over he said he wanted to make a remix.
But Jeff absolutely didn’t like the name: ‘What the hell is Crispy bacon? Where did you find such a stupid name?’ I explained to him that when I listen to the track, I have an image of bacon slice frying in boiling oil. ‘Ah, that’s what you mean!’ said Jeff. ‘Then you should have named your track Sizzling Bacon, because crispy—that’s for bacon that’s already cooked’.”
This was from his book Electrochoc, written in 2003 but five years before it, Garnier’s comment was less friendly: “It’s stupid name, a reaction against all of the dance tracks which are called Cyber Blah Blah or whatever. I played the track to Jeff Mills and he said I should change the name. Instead, I thought: Cool, I’ll keep that name.”