We recently sat down with one of the living legends of Deep and Organic music for a chat. It’s not every day that you get the chance to talk to those artists who’ve led the pack for years on end. And today we bring you precisely that. Sébastien Léger, ladies and gentlemen. Known for his technical precision and melodic modular synthesis, he has graced global stages from Coachella to Tomorrowland. His landmark performance at the Great Pyramids of Giza for Cercle remains a career pinnacle, and I can’t recommend it enough. This man brought his signature modular suitcase to the pyramids and played around with his songs in a unique way. See below. Today, some odd 30+ years deep into the music business, Seb focuses his creative energy on Lost Miracle, now both an imprint and an artist moniker alongside his good friend Roy Rosenfeld. And there’s one thing about Seb that I really admire: he stays true to his feels every single time. He is not looking to make the next TikTok hit, or to play a residency at the Sphere in Las Vegas. He’s instead making music to express himself, and while knowing that his fanbase truly values and respects him for that very reason. If that’s not peace of mind, I don’t know what is. And in between his quite crammed agenda, we had him stop for a few minutes, to ask a couple of questions. Check out our conversation with the one and only Sébastien Léger in the lines ahead. (Please note, the bolded text represents a question, while the paragraph(s) following it represent Seb’s answers.) Well, first of all, thank you for coming. It’s a pleasure. You’re coming down from a heavy weekend. How has it all been man? Yes. It is a heavy weekend. Well, the good thing in my busy weekend, which is a sad thing at the same time, is my show in Mendoza got cancelled, because of really bad weather. So, I went to sleep. Three out of four gigs — that’s very good. I could sleep at least five hours the night I didn’t play. That was good. But of course, it’s sad because the party was cancelled. Today I have the last show of this weekend, and tomorrow I go home, so I’m okay. Jet lagged, though. You’re living in France still? No, I live in Lisbon. Oh, alright. Well, you talk about rain. I saw Hernan Cattaneo had a bit of trouble too, this weekend he had his yearly weekender in Mendoza. They had to end the party early apparently. Anyways, so you just put out a two-track EP, Ramses/Sweep. First of all, congrats man. And secondly, what’s the story behind the EP? If you can recall, how was it born? I made the two tracks in the same week, last June. And, when I make music, I’ve got to say there’s no idea or stories. I just go into the studio and make music. I don’t know what’s going to happen. Sometimes it works, sometimes it doesn’t work. This time it was a productive week, I just made the music, and it was working well right away, so super fast. There’s no story behind it. I was about to ask that, because many artists say they need to be inspired ahead of time to make something. They first have an idea, then they go into the studio. No, for any track I’ve done, there’s never an idea, there’s never a thought before of, “Okay, I’m going to go this way or that way”. When I sit in the studio, I don’t know what I’m going to do. Never. I just go with the flow. And sometimes it works. Most of the time it works, actually — luckily — because I’m always on the road. So, when I’m in the studio, I have to be fast, because nobody makes the music for me. I make it myself. Creativity, for me, is very easy. [laughs] Which we laugh about, but you can’t take it for granted anymore, now that it’s become a standard that there are huge teams behind artists. There’s no team behind my music. I do everything from zero until the final mastering, everything. Amazing. Do you play with modular a lot? So, to be honest, since I moved to my newer flat two years ago, I haven’t done much. Just lately, because a friend was at my house and he wanted to see how it works, I switched it on after two years of not touching it. I was very rusty. I was like, “I don’t know how to plug the stuff anymore” kinda rusty. And now, I actually miss it again. So, it was a good thing that I had almost a two-year break from modular, because now I think about going back to the studio and actually making modular stuff. What does Lost Miracle as a label mean to you? And homonymously, how did Roy [Rosenfeld] come to be your partner in crime for the duo? Well, Lost Miracle, I started it alone, around six years ago now. So, it’s kind of my baby. But Roy was on board from the very beginning. I released the first EP, and he released the second EP, again, six years ago. So, since Roy and I have been playing together a lot, and also making music together a lot, we decided to join. Not like a wedding. [laughs] Being together officially, like a full project, a full band, duo, whatever you name it, to make things easier. It’s going really well. Well, you had a couple of really good, well-received EPs even before, as just ‘Sébastien Léger & Roy Rosenfeld’. It’s a process, because we like everything. We play any genre. Progressive, deep, tribal, techno, Afro, vocal, club, and so we make music in the same fashion. We like to make everything. And so the people will slowly understand what Lost Miracle as a duo is. With every release we’re doing, once a month or once every two months. Let’s say that halfway through 2026, people will fully understand what this is all about. That’s one thing about you. You’re an artist who plans a lot towards the future. When you showcase music in your mixtapes in December, that’s for one, two years into the future. What’s one track that you’re always playing in today’s sets? One that always works on the dancefloor? I always play this, every set since… I can’t even remember, probably two years now. It’s my own track, but I don’t say this because I don’t want to share music from others, it’s just that I play a lot of my own stuff. ‘Hutchula’. It’s probably my all-time favorite song I’ve done. And I always play it towards the end, let’s say the last hour of a set, because to me, it’s very special, and it works every time. It’s like fine wine. People start to understand it and like it more and more, because they get used to it. I don’t know, it’s a magic track. Yeah. Do you remember a time in your career when you had what I like to call an Oh My God moment? A moment in which you’re doing something, playing some track, and it just dawns on you that you are living a long-life dream of yours? Oh My God moment? Well, I had one that I vividly remember, a long time ago, must have been 2010. It happened when I played a festival in Montreal, in Canada. It’s called Igloofest. It’s a festival held in the middle of winter. It’s -25°C [-15°F], they’re all wearing winter shit, it’s crazy. And I played there the first time they sold out. 10,000 tickets. The two hours I played were… it was just a wave of people jumping up and down. It was crazy. That’s my biggest memory ever, even though it happened 15 years ago. I bet the cold actually makes people do this, there must be a sort of collective euphoria when you go that hard in such a cold environment. It’s crazy. The temperature is frigid, and people are crazy. They’re dressing like they’re going snowboarding or something, and everybody was jumping at the same time for two hours, screaming. I felt like I was Michael Jackson or something, you know? It was unbelievable. Moving on towards a bit of a hot topic, about the phone debate, which side are you on if you’re picking sides? No phones, all phones, some phones? In the middle. I’m lucky because my crowd is a bit more mature and older, because the music I play is not really for kids, and kids use their phones a lot. Of course we have phones, but it’s not like an ocean of phones, like Anyma, or even Keinemusik. It’s out of control. I mean, I can’t blame them, they became successful, and there’s people who want to film them, and see them as celebrities. I’m not to that level. It’s good because we get content. We have stories to share, how good it was, whatever, and the more phones you see, the more famous you are, or something like that. But it’s also annoying if it’s only phones all the time. Then it’s really like you’re losing the focus of a show. It’s okay to film a little bit, to take photos, but if you stand like this for too long… [Holds up his phone] But again, it’s not my crowd, so I’m lucky with that. Thank you. I’ve got two more questions. If you could travel to the past — and I love to ask this question — any number of years, and meet your past self from that era, what would you tell that younger self? Is there any advice for him? Well, I would say pretty much don’t change anything, because I’ve done most of the things right. I’ve made a lot of mistakes as well, yes, but in the grand scheme of things, I think I’ve done mostly right, because I’ve been doing this for 30 years. If I was doing things inherently badly, I would’ve lasted five years as an artist. Though I will say, I would probably tell myself, at some point, it’s good to listen to yourself first and then others, like dodgy managers, or people who just want you because of what you can offer them. And also, “Don’t let people be involved in your creative process”. That’s my rule: nobody should ever tell me what I have to do. And this is my last question. You’ve got a strong career under your belt, dense and long-lasting. So, what would you like people to remember you by? What’s the legacy of Sébastien Léger that you want to transcend time? Well, I feel like it’s very arrogant to say I want to leave my footprints in the music industry. I don’t pretend I’ve created something incredible. But if I can be remembered as someone who did this with passion, because I’ve always loved this music, I stayed true to myself, I’ve done it the right way, honestly? That’s it. That was very straightforward, but it’s definitely how I feel. Well, thanks so much for this Seb! You’re welcome. -End of interview- It’s always a bit surreal to get to meet those artists who you’ve been looking up to for a while. Seb doesn’t know just how much his music means to me, tearing up with, for example, ‘Sakura Blossom’, or other tracks of the same calibre, something that’s a bit of a rarity in this day and age, where songs with a soul are often absent from the most viral releases making the rounds. In fact, that very night of the interview, Seb closed his set with the gorgeous ten-minute extended version of ‘Ashes in the Wind’, which is probably his most renowned hit song ever. And I teared up yet again, just a few centimetres behind him in the booth. It was the first time I got to hear that song live, and delivered by the master himself. I had just enough time to dry my tears before he turned back to me and we had a little laugh. Unreal experience.[INTERVIEW] Sébastien Léger Talks Lost Miracle, Modular Jams, Legacy, And More
The Interview
Final Words
