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“I wait for the day that music will be the food of love, I wait for the day that I will sleep without laws.” ASA (extract from “Total Chaos”)

As a committed sound activist for the past twenty-five years, Doctor L moves through musical galaxies like an incandescent comet, ceaselessly fusing. From 80s punk rock to hip hop (with French crew Assassin*), from the start of electronica to the rebirth of international afro-beat…

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WE GOT LOST
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THE GREAT DEPRESSION
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WISDOM OF LIFE
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NO PRISON !
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“I wait for the day that music will be the food of love, I wait for the day that I will sleep without laws.”

ASA (extract from “Total Chaos”)

As a committed sound activist for the past twenty-five years, Doctor L moves through musical galaxies like an incandescent comet, ceaselessly fusing. From 80s punk rock to hip hop (with French crew Assassin*), from the start of electronica to the rebirth of international afro-beat…

In 2000 (already on the label Comet Records) he managed to bring Lagos afro-beat into the third millennium with album “Black Voices” by Tony Allen, and even send it orbiting around the moon with record Psyco on Da Bus.

For the past ten years, Doctor L has been pursuing his vision of a protean kind of music, bringing together the past, present and future in a resounding Big Bang. For the past ten years and in order to meet this mad challenge, Doctor L has been making music continuously in his home studio in Saint Ouen (Paris) and collaborated with many artists from around the world: New York, Paris, London, Lagos, Berlin, Bamako, Marseille….

Completely self-taught, Doctor L aka Liam Farrell is a conceptual DIYer, a predator for references, a trans-continental DJ and, in short, a complete artist. The second born to a family of boys, he is the son of an Irish libertarian painter and a British art critic. Born in Dublin in 1968, he grew up between France (where his family had emigrated) and Ireland, a country at the heart of the notion of resistance. . “Ireland is the only European country to have had a contemporary experience of colonisation, of assimilation he insists, claiming that this was what initially drove him to black-American culture, and later African music: common symbolic and meaningful roots.

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