Made In Paris has a fanbase that spans the globe. In part, perhaps, because she is one of the new breed of Australian producers raised on a steady diet of European Techno and House – shunning the typically “sunny” Australian sound in favour of a darker, grittier take on electronics. Her production skills have seen her music being embraced by legendary names like Sven Vath, Maceoplex and Joseph Capriati among many more. As a DJ she fills her schedule with peak time festival slots and international touring, taking the difficult step out of Australia and into the highly competitive European dance music scene. During recent downtime we caught up with Paris at home for an insight into what it takes to operate on her level.

You have been getting some great support from the European scene, something that is notoriously difficult for Australian producers – Is there a particular time you’ve heard your own music being played somewhere that has spun you out?

Getting sent footage of Maceo Plex and Sven Vath playing The Vault at Timewarp got me jumping up and down that’s for sure – but listening to my music on the radio for the first time was pretty special.

Australian producers and are gravitating towards darker and more nuanced dance sounds at the moment, what do you think is behind this shift?

This is something that I wonder about. Darker electronic music used to be a lot more niche in Australia. But over recent years more promoters have been pushing these genres and touring internationals from the European scene. It has really opened up which is great to see and be amongst.

How are you using Ableton in the Studio?

November Applications Now Open for November 2020

Ableton is my one and only DAW. I use it for the creative parts of my music in conjunction with my push 2 and hardware, as well as arranging and mixing my music.

Is there an Ableton native plugin that you think is overlooked or that you use constantly?

Using the Vocoder on high end elements such as hihats is a great way to make things spread and shine through in the mix.


How do you see the role of music that is traditionally oriented towards club spaces in a time where the future of clubbing is very uncertain? Does it change the way you think about producing? Does it change the kind of music you listen to?

It has most definitely affected a lot of artists including myself. It has been hard to get inspired to create dance music with no clubs to play it in. I find this time has been one for exploring and experimenting with my production.

Is there someone else’s work that changed the way you think about music?

A few artists have over the years but most recent I would have to say watching Floating Points live was so inspiring and the layers of amazing music, visuals and lighting made a big impression on me.

What do you usually do when stuck on a track? 

I like to go for a long walk and stream new music as well as tracks I’ve been loving playing out. Also some feedback from trusted fellow producers can get you past an area you’re stuck on.

How much is music a solo pursuit for you and how does collaboration factor into your work? Or when and how do you turn to others for feedback or input?

My music has been predominantly solo. I do like to collaborate if I feel a connection with another artist and their music.  I feel it is always good to get a second ear or two from trustworthy people that know and understand the sound you’re trying to produce.

What do you have coming up release-wise this year?

At this point in time I have a single plus an EP dropping in August and my mini album Exordium releasing in November.