In solo since 2007 and his album “Le Bienheureux”(Was On Records), he then expanded his musical palette with “Freedom”, a darker but also more released record released on his own label Pura Vida. Exiled in Ibiza is From his Balearic Island that he will publish in 2011 “Paradise For All”, on the label which is Still to this day, Heavenly Sweetness.
And The Living Is Easy, I Want You Tonight, Brand New Revolution: each of the albums contained a title that has since become classic.
Since 2013, he has concocted with his accomplice Mambo, the compilations Beach Diggin ‘, dedicated to the discovery of rare and sunny galettes.
Since hip hop broke into his life, somewhere in the 1980s, Guts has devoted it all his time and energy. Chasing for him thousands of samples, spending nights looking for the perfect beat or the precisely set melody, the look directed towards the West, towards the Bronx.
So in 2014, after twenty-five years of unfailing devotion, he decided to magnify this music which, by the richness and quality of the sources used, made him the producer he is. This music that made it as curious as demanding and as open as refined. MPC under the arm, Guts went to record in Mecca New York, collaborating with Patrice or Coddy ChesnuTT, with legends Grand Puba or Masta Ace, but also, finding in the blind spots some more confidential artists like soul singer Lorine Chia , The duo of Mc’s swift Tanya Morgan or the jazzman Leron Thomas. From these studio sessions is born “Hip Hop After All”, album in the form of declaration of love and eternal thanks, stone brought by Guts to this musical cathedral at the same time as a call board to go even further … Because, sweeping France and part of Europe with a live band to bring on stage its classics but also the shiny titles of Hip Hop After All (Open Wide, Man Funk, Want It Back …) had it In an idea more than present in a corner of his head: to make an album where the proportions 80% samples and programming / 20% live would be reversed, making him go from programmed beatmaker to a collective conductor.
Pushing back his perpetual musical exploration to the electro-funk, the afro-disco, space jazz, Guts didn’t forbid anything to compose ETERNAL, an album released in 2016, the result of a creative distillation between the members Live band Hip Hop After All (Florian Pellissier on keyboards, Greg F. on guitar, Kenny Ruby on bass, Tibo Brandalise on drums, Leron Thomas, trumpet and vocals) and the new elements Tanya Morgan and Lorine Chia.
It is with this workforce that Guts will grid a number of consecutive scenes and festivals, then, finally, to redraw the contours. Leron Thomas, Lorine Chia and Von Pea will give their seats to Wolfgang Volburn, Mary May and Beat Assailliant respectively, and it is this new generation band that will be releasing their EP “Stop The Violence” in 2017.
2017 will also be the year when, with his partner Mambo, Guts will release Beach Diggin ‘5, a final chapter that will close a series of compilations that had illuminated many summers.
In 2019, it was initially the idea of a return to his basics of beatmaker which had settled in the spirit of Guts. A return to samplers and sequencing. Cut, pitch, filter, cut again, program, deconstruct to build better. A solo work about the opposite of what he had lived in the last three years and the release of « Eternal », an album recorded with his Pura Vida Band, then a show created, developed and perfected during tours in France and Europe.
Then, this return to beatmaking, Guts finally put it back below his stack of ideas and has made another, that of making an album radically different from previous.
Experimental, sunny, which would explore all these vibrations from the southern hemisphere that Guts has been collecting for years while practicing in his passion for diggin ‘. The ones with whom he builds his DJ sets, those he patiently collected on the five volumes of his compilations series Beach Diggin ‘.
An Afro-tropical album. To carry out his plan, Guts was joined by the services of Cyril Atef (co-leader of Bumcello and Congopunq) and Ben Abarbanel-Wolff (the man behind the comeback of African legends Pat Thomas and Ebo Taylor) to whom he entrusted part of the keys to the realization
He also set up a new live band where Kenny Ruby’s bass, Cyril’s drums, Cyril Atef’s percussion, Adelaide Songeons’ trombone and Ben Wolf’s sax are become the axis around which all the pieces were thought and composed. A totem on which the arrangements would later agglomerate and from which all further ideas would be developed.
Supported by the all-terrain keyboards of Florian Pellissier and in connection with the beatmaker Izem remained in Portugal, the fearsome quintet who traced the groove road, pioneered the thick musical jungle so that other musicians could join the base camp.
Jowee Omicil, Lameck Macaba, Djeuhdjoah and Nicholson, Vum Vum, Pat Kalla, Draman From the outset, Pinduca the king of Carimbo, the illustrious Nazaré Perera, Catia Wernec, Black Sage and Mario Canonge came to help in the studio. Add a dose of brass, guitar, flute or vibraphone. Add some keyboards, make sound the wood of the balafon, take the microphone for a vocal caress or to unleash to vibrate the cabin. To put poems to music or bring a touch of humor.
Travel between Brazil, Caribbean islands and Africa. Lose the sense of direction in an Afro trance, between the roar of the bass and the whirling percussion, to wiggle until dehydration on the funk tough, waving smoothly on a Brazilian jazz funk.
As in a biplane trip, contemplate Haiti and the Caribbean, admire Cameroon and Angola. Fly over the Amazon rainforest, spectator of its luxuriant vegetation.
Guts is at the controls of the device. On the cabin, a colorful and generous fresco announces the name of this new album: PHILANTROPIQUES.