Time is an element of life that only grows in value the more we progress. No one knows this more than Montreal based musician Maxime Morin, aka DJ Champion. For the better part of a decade, Morin has been crafting music that's been constantly fresh, never restrictive, and continually groundbreaking. Each album changed the game for DJ Champion, as well as his live band the G-Strings. Debut Chill'em All offered simple yet expansive electronica blended house, whereas second album Resistance brought in the influence of rock guitars and ferocity to the fold. Third album, Degree One, showcased a side to Morin that many weren't familiar with: the composer, the true auteur through a modern lens.

With all of that, one couldn't help but wonder what Morin and company would offer with a fourth release, and yet here we are with fourth album Best Seller. To call this album a return to form would be an insult to what Morin has achieved thus far. Yes, the album explores the simplicity reminiscent of his first release, but where it succeeds in spades is how it expands the sonic landscape of modern electronic music while still respecting its influences. Maxime Morin has made a career of making the music he wants to make, and that's never been clearer with Best Seller. Ken Grand-Pierre recently sat down with Morin to discuss his career, and how all the roads lead to Best Seller.

When it came to writing Best Seller, what felt different at the start in contrast to previous outings you had, when it came to creating records?

It was different because I had time. Time to remember not to overthink it. Of course, there were a number of ideas and concepts present in the making of the album, but I really wanted to keep a sense of spontaneity in Best Seller. I think that the intentional and unintentional "errors" that are present all throughout the album reflect this idea.

From what perspective do you feel you were in when you made Best Seller? Do you feel the creative process is informed by the experiences in your life?

Always, but it would be wrong to think that the process is completely changed. In my case, what I lived through (my illness) refined and exacerbated who I am and how I create. The idea of the intentional error is a really good example of this.

What I've grown to love about your music over the years is that I think many musicians find themselves overthinking how to reinvent their sound, but don't consider that the sound from their first album can be expanded on. This is album four for you, and as different as all the albums sound, there's still a consistent vibe and tonality of 'This is Champion'. Was it important to you to expand on the toolbox, rather than toss it out?

It was crucial. The biggest mistake I made with Resistance was to toss out the toolbox. At that time, I didn't think it was a good idea to do the sort of simple follow-up to Chill'em All. What I figured out is that simple is not bad. Simplicity does not exclude emotion or intensity.

I can still remember listening to Degree One for the first time, and feeling swept up and floored by it. A track such as 'And I You' on Best Seller is a track that couldn't have been made without the experience of making Degree One. Would you agree with that?

Well first of all, thank you very much! But, I must disagree. Of course, Degree One influenced me, but the main influence for this track is 'Tawounga' from Chill'em All. I tried to do with the vocals what I'm doing with guitars, which is a lot of counterpoint.

What do you feel was your biggest take away from creating Degree One that helped you to create Best Seller?

Just to get Degree One out of my system. It was something I had to go through to get to this album.

'Boy Toy' sounds like a classic Champion track. One of those tracks that harkens well to your DJ days, and the love you have for electronica. What is it about electronic music that you've grown fond of over the years? Also, how did 'Boy Toy' come together?

I love the structures of electronic music where you can deviate from the usual verse - chorus structure and let the music take its place more graciously. 'Boy Toy' started with just the lyrics, "My pin up goes up and down." However, there's kind of a wave of douchebag-misogyny in Montreal and online and I didn't want to be part of it.

So I was telling my ex-girlfriend that I wasn't going to put the track on the album. She thought it was too bad and said she really liked the track and suggested I change it to "My boy toy goes round and round" - and there you go, I instantly loved her idea. Musically, the song is directly influenced by 'Plastiques et Méteux' on Resistance and 'Shake it to the Ground' from DJ Blaqstarr.

Do you have a favourite track from Best Seller? Not necessarily in sound, but in how it was made?

It's between 'Life is Good', 'Boy Toy' and 'What a Life'. 'Boy Toy' for all of the reasons I mentioned above. 'What a Life' because it's one of the most collaborative works I've ever done. Marie Christine improvised on the chorus, then I reworked it a bit. Then Lou wrote the lyrics, then back and forth and back and forth. 'Life is Good', I had the melody but no lyrics for many years, and one day while I was in chemo therapy, on a road trip with Rebecca ('Boy Toy' Makonnen) it was a beautiful day, I had that melody in my head and I thought, oh life is good.

What really intrigues me about you, is that there's a sense of euphoria and losing yourself within sounds, and yet the lyrics are always poignant. I know I'm mentioning Degree One quite a bit, but it really does intrigue me that you made that album, in scope and execution, and now with Best Seller as the follow-up. I'm curious, does it feel as though you approached lyrics differently this go around than you have in the past?

I keep coming back to this idea of Degree One being something I had to get out of my system, honestly. On that album I explored more dark poignant emotions than I had before or since. I'm a different person now, in part because of going through that. Yes, this time it was different, it's much more "Luminous" like the track on the album actually.

I regret never having the chance to see you live, I've heard stories about the Resistance days, and how you'd really push the envelop with the live show. Do you have much in mind for the changing the live show for the new album, and if so what would you like to achieve?

The idea was to have a show that is, like the album, more "Luminous." With this show we are closer to a house music party vibe than to a rock concert (as was the case with Resistance).

Are they're any contemporary artists that have interested you lately? I could really see you taking to Christine and the Queens. She's really something else.

Yeah, of course. Christine and the Queens does some really nice stuff, but I think her music is too similar to mine to be an influence for me. I am listening to more Diplo, DJ Blaqstarr and Astronomar - people who are working with techno, hip-hop and trap and those kinds of blends.

Lastly, this is more of a fanboy question more than anything else, but on the Resistance album there's a track called 'Plastiques et Méteux' that has an interesting audio conversation within the track. I've been trying to think of what the context of that clip was for years now; do you remember where it came from?

So the story goes, it's the voice of a friend, Avi Ludmer, a guy who sells guitars. I went into the shop one day with a recorder and asked him to talk about "keep going on" into the recorder. I kind of coaxed him to get more intensity and eventually he went off and that's what you hear on the track.