Having released her Traxsource chart-topping ‘Celestial’ album in 2018, London’s soulful dance music producer Paris Cesvette, has just released her second artist album, ‘As Above, So Below’, on DJ Spen’s Quantize Recordings. Paris Cesvette is recognized worldwide as a multi-disciplinary musician, songwriter, music producer, DJ and Grammy Recording Academy member. 

Starting out a young age, she has continually pushed the boundaries of sound with her meticulously crafted fusions of Soulful House and Jazz. Aside from successful releases on her own label, ‘Our People, Our Music,’ Paris’ works have landed on Reel People Music, Freeze Records, Soul Heaven, Ts Box, Groove Odessey, Quantize Recordings, MoreHouse Records, HouseHead London and MN2S, to name a few. During her career, Paris has produced and remixed the likes of Boy George, Barbara Tucker, Robert Owens, Kenny Bobien, Byron Stingily, Demuir, Tortured Soul and DJ Spen, as well as a number of Jazz / R&B / Soul artists such as Leee John (Imagination),  Will Downing and Robert Glasper. 

We caught up with the multi-faceted musician to chat about all things latest album, collaborations, and what her future has in store! 

WWD: You’ve just released your brilliant second artist album, ‘As Above, So Below’ on Dj Spen’s Quantize Recordings. What inspired this release?

Initially, I wasn’t planning on a second album, but DJ Spen encouraged me to take what I did on the first album and push it even further, he’s really the reason this album exists. The inspiration came from a deeper understanding of my purpose in this space, which is to keep the flame burning for soulful dance music. I realized that I’m here to make sure the essence of that sound continues to thrive.

WWD: Are you pleased with how it sounds? What can listeners expect?

I’m beyond pleased with how ‘As Above, So Below’ turned out. It truly captures the essence of where I am as a producer. This album is a snapshot of my evolution and offers listeners a beautiful selection of soulful, 90s R&B vibes mixed with modern electronic jams. It’s like a modern-day songbook full of love, life, and all the moments that make you want to sing along. Whether it’s sunny or raining, day or night, it’ll keep you vibing anywhere.

WWD: The album features many soulful vocal talents. Was it always the plan to work with so many artists, or did that happen organically?

As a session musician early in my career, it felt natural to collaborate with different artists as it’s part of the DNA of my music. I’ve always believed that a discography is your library of work, a testament to what you can create. So yes, it was always my intention to work with many artists. But I’m very intentional about who I collaborate with and I don’t just work with anyone. Each artist I choose becomes part of a relationship built on mutual respect and creativity, and many of these collaborations span more than one track. This album features Kenny Bobien, Sabrina Chyld, Mr. V, Will Downing, Rona Ray, Hannah Khemoh, Tracy Hamlin, Robert Walker, Leanne, Gershon Jackson, Michelle Weeks, and Scotty P (Scott Paynter). Every one of these artists brought something special to this project.

WWD: Do you have any favourite tracks from the album?

Asking me to choose a favourite is like asking me to pick a favourite child—it’s impossible! Each song shines in its own way depending on the mood I’m in, the time of day, or even the weather. I can tell you that this is my favourite album overall. It’s on constant repeat for me, and every time I listen, a different track stands out. That’s the beauty of it. 

WWD: In what way does ‘As Above, So Below,’ push the boundaries of your previous singles and debut album, ‘Celestial?’

‘As Above, So Below’ is definitely my most advanced production to date. The drum programming, the engineering, and even the songwriting have all evolved. I wrote and even sang on several tracks, so I was much more hands-on with this album. The goal was to showcase how polished my sound has become, and I think you can really hear that growth compared to my previous projects. I wanted to step up in every aspect of the production, and I feel like I’ve done just that.

WWD: Your work is incredibly soulful, both musically and lyrically, with a distinct US Soulful House flavour. Who are your biggest musical influences?

Oh, I could name so many, but to narrow it down, I’d say George Duke, Bobby Caldwell, Earth, Wind & Fire—especially Maurice White, Chris “Big Dog” Davis, Paul Brown, Rex Rideout, and Dr. Dre. From the world of house music, it’s Frankie Knuckles, Louie Vega, and Larry Heard. Each of them has influenced my sound in different ways, whether it’s the musicality, the rhythm, or just the essence they bring to their music.

WWD: You’re a mum, living in London with Jamaican and Cuban roots. Does your heritage or family inspire your music? What else inspires you?

Absolutely, my heritage is everything to me. It’s the foundation of who I am, and I always try to infuse it into my music. For instance, the album opens with a Latin Reggae House fusion track, featuring Sabrina Chyld and Mr. V. It’s a nod to the same vibes I closed ‘Celestial’ with. It’s important for me to represent that fusion of Caribbean and Latin roots in my work, it’s part of my identity. And my family? They’re my greatest inspiration, hands down. My son is my “why”, he’s the reason I push to be the best version of myself every day. My family gives me the strength and support I need to keep creating. Without them, I wouldn’t even be making music.

WWD: You started producing and releasing music at a young age. What challenges did you face as a female artist, and how did you overcome them?

One of the biggest lessons I’ve learned is that the music industry is as much about business as it is about art. It’s not personal, it’s just how things operate. I’ve learned to keep my head in the music and not take things personally. I’ve adopted a more spiritual approach, taking the higher ground because I understand that everything comes in cycles. I’m not here for a quick rise and fall… I’m here for longevity. My focus is on being part of the musical fabric forever, and that means not getting caught up in gatekeeping or politics. I stay focused on being the best music producer and DJ I can be. 

WWD: What’s your biggest strength as a producer, and what’s your Achilles heel?

My biggest strength is my musicality. I’m a jazz musician by trade, so my productions are always rich in harmony, with beautiful chord progressions and intricate instrumental compositions. But that’s also my Achilles heel. Sometimes I can make things a bit too complex for dance music. I’ll want to throw in all the chord changes, and not every song needs that level of musicality. It’s a balance I’m always working on, but hey, why not add a little jazz to house music, right?

WWD: By all accounts congrats are in order – your remix of Kinky Roland & Boy George ‘You’re Not The One’ on HouseHead London is up for a Grammy nomination. As an artist today, how important are the Grammy’s and what would it mean to you if you won one?

Thank you! The Grammys are hugely important to me. In today’s digital age, where things can get diluted with ghost production or strong management teams, the Grammys are one of the few markers that truly validate an artist’s work. It’s peer recognition – fellow high-achieving producers, musicians, and industry professionals decide who wins. It’s an honour to even be considered, and it’s been a game-changer for my career already. Winning a Grammy would mean showing the world that a girl who loves her piano can achieve one of the highest honours in music. It’s about proving that hard work and passion can still take you to the top.

WWD: As both a jazz musician and house music producer, what are your thoughts on AI-generated music? Have you experimented with it?

I’ve been experimenting with AI quite a bit. It’s a fascinating tool when used correctly. I’m a big advocate for using AI to enhance artistry, not replace it. AI shouldn’t take away the human touch or the artistry behind the music. Instead, it should assist the creative process, making things more efficient without replacing the soul of the work. I think that’s where its true power lies, in being a tool that complements hard work, not something that shortcuts it.

WWD: What else are you currently working on that you can share with us?

I’m planning to release the R&B version of ‘As Above, So Below’ around Valentine’s Day, which is perfect for all my R&B lovers. I’ve also got a few tech house records in the works for next year, and I’m already thinking about the next album. Maybe something acoustic… we’ll see! And of course, I’m really excited to expand into TV and film music. Let’s bring that Grammy home first, and then who knows where the journey will take me!

‘As Above So Below’ is available here