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COMPOSER is the name of an interestingly unexpected duo. They have willingly set their tunes as counterpoint to trendy stereotypes while semantically founding the surprising union on their sometimes spontaneous, often arduous but always exacting writing work. Besides, it is the result of an odd encounter, the result of a week devoted to surpassing oneself in order to give life to a one-night live performance, even though the two protagonists hardly knew each other. Last but not least, this entity is composed of two personalities, both over-thirty dads, not dreaming of world tours, TV sets or sexy fans anymore, but simply of crafting fine albums.

Eric Raynaud isn’t new at InFiné, where he is already known as Fraction exploring electronic and experimental music. “Superposition”, his first EP was released by InFiné in May 2008. As for Guillaume Eluerd, he has already created two albums, one folk for “The Year of the Dog” under his own name and some electronic DIY as Nimp.

Alexandre Cazac, co-founder of InFiné, spotted a likely complementarity in Guillaume’s songwriter skills on one side and Eric’s soundesigner’s on the other. He thus invited them to the first summer InFiné workshop in La Carrière near Poitiers in France. The rule is simple and worthy of the best Got Talents, the protagonists are left with a week to prepare for a concert in the truly idyllic but nonetheless partly precarious setting of the Normandoux.

In the end the Normandoux experiment ended in a successful artistic collaboration. It was also the beginning of a real complicity crystallized in a romance on “Seven Days” followed by the desire to push this adventure further in studio. Both men thus found out about the plain voluntarism and the DIY sense of aestheticism they shared, which would allow them to overcome many obstacles.

There have been hard times for sure. Just consider their first concert without any recording left at all. During the following months, Eric and Guillaume exchanged their files over the Internet and thus co-wrote their first tracks (“Check Chuck” and “Seven Days”). But several months and an acoustic session in studio later, their real dialectic as a duo was free to emerge.

From then on, Guillaume started concentrating nearly solely on the texts and songs, with some additional vocals by Suzanne The Man (also heard alongside M83, Villeneuve or Lab°). His words now as sharp as knives decline the themes of an almost misanthropic pop. He captures relationships in the form of everyday-life snapshots, of situations based on misleading appearances (“Polar Bear” and “Check Chuck”) depicted sometimes with humor but more often with cynicism. Moreover he is not much of a socialite as emanates from the very borderline “The Edges of the World” from which emerges what seems to be an undisguised preference for a dream-like confinement.

Productionwise, Eric locked up in his new studio, dips his musical brush into elemental styles and tries his hand at immediately-efficient combinations as well as introspective colors. With “Check Chuck” or “Seven Days”, he goes back to indie sound, thus pursuing the experimentations of his first group, Mary Lake. But he also embarks, with the same coolness, on electronic rhymes with “The First Time” and “Aqualung” or on a green break with “Biome” and on a synthetic folk when you hear “Rooftop” or the powerful electro of “Polar Bear”.

Therefore, the nine tracks of “The edges of the World” mirror this surprising complicity. They offer an electronic sound-exploration in pop harmonies, which manages to take into consideration each individuality nonetheless combining them to bring about the same quirky and thrilling vision of conventions. What if they started enjoying it?





the edges of the world





check chuck



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