Photo: Press (Molly)
It’s a truism that DJs need to be adaptable, but it’s easier said than done. Over the course of her career in the dance music world, Emeline Ginestet has again and again proven to be capable of adjusting herself in different context and genres. Starting out working behind the scenes of Paris’s Rex Club, she made a name for herself as a DJ who could seamlessly navigate through different styles and later on began to showcase her versatility in the studio with a slew of releases under her moniker Molly. After putting out releases on labels like Groovement, Cin Cin, and Giegling, she has recently landed on Mexico’s Kilómetro 4.5 with a four-track EP dedicated to a dusty but lush deep house sound. There’s more coming—an album is in the works—and Molly’s multi-faceted mix for our Groove podcast already hints at where her journey as a producer will take her in the near future.
One of the first electronic music albums that you bought was Berlinette by Ellen Allien. How did you come across the record and what did you like about it?
Back in the days, when i started to buy vinyl records, I used to go to this store in Toulouse that was selling lots if indie pop and rock as well as a bit of electronic music. That’s where I discovered the album. The owner of the shop, who was a DJ and a big fan of Ellen, recommend the record to me. I really liked in the energy in it. This music was so new to me, so it was a great discovery.
You first fully immersed yourself in club culture during a stay in London. Which clubs and DJs were important for you back in those days?
I used to go to The End, Erol Alkan’s TRASH night in particular, but also saw Layo & Bushwacka, Ivan Smagghe, Tiga, Felix Da Housecat, Miss Kitten & The Hacker and many more. That was really important for me at that time. I could connect my indie pop and rock roots with this music. Then I slowly discovered Richie Hawtin and got into minimal techno when I moved to Paris.
There, you became a resident at Rex Club early on and also started working behind the scenes. What was your role there exactly and would you say the experience was also important for your DJ career?
That’s true, I have spent quite a few years behind the scenes. At Rex I was managing PR and communication as well as some bookings. During my last three years there, I was only in charge of the booking. It was definitely important for my DJ career. I learned a lot about the scene, about the music, I had the chance to meet many great artists and I could hear great sets every weekend. That was definitely very inspiring. I also met some artists there who had an influence in my DJ career, like Spencer Parker, who asked me to do my first remix, or Tobi Neumann, who invited me to play in Berlin with him several times, Ellen Allien, too, etc. They introduced me to the Berlin scene.
You had been DJing long before you eventually started releasing your own music. What did your first steps as a producer look like?
While I was working at the Rex Club, I was at the office every day, even on the weekends. If not, I was traveling somewhere. That did not really leave me the time to focus on production. I do my own production, which I know is not the case for a lot of artists. You need to spend time in the studio and learn about the complexity of the software and hardware. It was definitely a disaster at the beginning, and I almost gave up many times. I remember that I followed a two week-long Ableton lesson led by Ben Vedren, a great French producer, and it really helped me to start making my first tracks. But with the first ones, I was not sure at all with what I was doing and it took a while before I dared to send the music to others.
Your latest EP Favorite Cocktails came out in September. How did the release come together and how did you end up releasing them on Kilómetro 4.5?
I met Moises, the owner of the label, in Tulum. He booked me there and he asked me to release on the label he was launching. During those days there, we became friends and it was obvious for me to do something on his label. He has a great taste, and I was glad to be a part of it. When I went back home, I started working on some new tracks and sent him a few new ones. Already the day after, he got back to me with his selection. Everything happened pretty fast, actually!
With RDV Music, you have started your own label in 2017. How would you describe the philosophy behind it?
RDV means “Récit de Voyage,” which I would translate as “Storytelling.” The music has to be a journey for me. When a track gives me goosebumps it’s because I emotionally go from one point to another. On RDV I wanted to release tracks by artists who can create these feelings that I in turn can then share with other people. Until now, I put out nine releases and three compilations. I’m taking my time to find the right music which fits with my idea behind the label but I’m happy with the results. The label was on standby for a few months but the next one is on his way.
As a producer as well as a DJ, you constantly move between techno and house. How do you prepare for tours if you do not yet know what kind of music you’ll end up playing at individual dates?
That’s true, I like techno as house music and I never prepare my sets. I play the music I feel like playing at that time, for the space and the crowd. You never know what you’ll find once you are in front of the crowd. I try to bring a bit of everything and I also try to be a little organised with my music, it helps me to find the right tracks at the right moments during a set.
What was the idea behind your mix for our Groove podcast?
It’s a mix of music I like at the moment, including some of my upcoming releases. I tried to express my mood at the moment. I’m living close to the sea, in the nature, with little around. This surely had a deep impact on the selection.
Last but not least: What are your plans for the future?”
Well, my life changed quite a lot in 2022! I just became a mother and I opened a hotel in Corsica with my husband—I got married, too! My plans for the future revolve around all of these things! Of course, I’ll keep making music in my studio and releasing records—I plan on finishing my album this winter, by the way. I want to develop the studio I’m building here and offer residencies foir some artists, too. When it comes to gigs, I’ll do less than before. I don’t want to play too much now since I need time to focus on all the other projects I have.
Stream: Molly – Groove Podcast 356
01. Sebastian Mullaert – Wa Wu We
02. Fred P – Universal
03. Davis Galvin – Waterbody
04. Adam Strömstedt – Carid
05. Sofia Kourtesis – Ios Santos (feat. Kid Simius)
06. Patricia – Coffee Computer
07. Molly – Palm Tree Right
08. Christopher Rau – A Line
09. Map.ache – IZA’
10. Trevor Deep Jr. – Come Alive feat. Niko Marks
11. Marcus Paulson – Brutal North
12. Last Generation – Feel My Love (Dub)
13. Molly – Mercure
