Ever the genre-hopper, Frédéric Scarfone first took to the stage in 2008 at Kinetik Festival 1.0, with the hard electro outfit Memmaker, fronted by his old friend Guillaume Nadon. In the following years he began cutting his teeth as a producer, collaborating with experimental breakcore veteran Yann Faussurier on the seventh Iszoloscope album, The Edge of Certainty (2010), while also foraying into bleak, Laibachian marching rhythms under the name Norad.
When Memmaker relocated to Copenhagen, Scarfone followed suit, performing with them and Iszoloscope throughout 2011-2012, and co-writing a number of tracks on Memmaker’s belated second album, Let There Be Lasers. In Denmark, Scarfone made the acquaintance of Jesper Karup and Nina Io Rasmussen, who were looking for a producer for their dark-yet-poppy electro project, Neonsol. The chemistry was right, and the trio went on to release 2 EPs and a full-length on AnalogueTrash, and perform throughout the UK and Scandinavia.
In 2017, after a decade of collaborations, Scarfone felt the urge to explore a different facet of his creativity with a solo project centered around the Baroque period.
The idea of a baroque synth album à la Wendy Carlos had been lingering in Frédéric Scarfone’s mind for several years, but that involved actually learning to (gasp!) read classical notation.
Fortunately that obstacle turned out to be perfectly surmountable. Scarfone even hunted down a facsimile of sheet music penned in Vivaldi’s own unruly handwriting in order to recreate the delightful aria Sovente il sole using a vocal synthesizer.
Intent on studying the masters, Scarfone assembled some of his favorite works by Bach, Purcell, Rameau and Scarlatti into a colorful, synth-heavy and admittedly nostalgic album titled Way Bach Machine, just in time for the 50th anniversary of Switched-On Bach.