"I go in and chop very much at random, so that the result is, even for myself, nothing that I can expect. I let the sequencer roll and I add the bits, one at a time, and see if it works. I think the first person that I have to surprise is me. I keep everything; everything is reusable in a different context. Although, one day I'd like to do pieces where no one sound comes back, not even twice. It's like building an Eiffel Tower out of matches."
It's clear that predictability is to be avoided for Leclair, a man who manages to balance serious and playful, abstract with downright danceable. He is also incredibly gifted at crafting killer grooves from his quirky sources, spending much time on doing so. "If it makes sense without the beat, then I'm on the right path; if it doesn't, I'll keep working on it," Akufen shares. "Eventually, I'd love to remove the percussion entirely and just have grooves made out of sounds. I think it's important to do. The public is too much a slave to the beat and eventually it would be nice to try and make people accept that it's possible to dance and have a good groove without it.
"If you don't take risks, you'll never have results, you will stay uneducated. To me, to really have the guts to explore, to go and try new things is to find answers to your personal questions."