Louveteau Drops Eclectic 6-Track EP “House Sitting” On All Music Streaming Platforms
Louveteau is a multi-instrumentalist, composer and producer who has spent the last eight years experimenting with a wide range of genres, from hip-hop to classical. This diverse background carries over to his latest release, House Sitting, and it’s ultimately what makes it more than just a collection of four-on-the-floor beats.
Most notable of the EP are its chord progressions and harmonies. What it lacks in novelty of sound palette, it makes up for in contemplative yet groovy vibes. It helps fill some of the giant and often empty space, especially in dance music, between overtly dark and downright euphoric. It could be the perfect soundtrack for some of your in-between parties this summer.
The group’s first song and first single are obviously the most catchy. It features pop but cool vocals from Jasmine Kelly. The lyrics are dreamy and mysterious.
The next five tracks are each a subtly different version of the same drum beat. Some contain fiery drops (notably the last section of Brand New Socks) and others contain minutes of hypnotic repetition (see the last two minutes of Submarine for that), but each track creates its own world. Any song on the EP could be a standalone single, but they hold together as a project.
1. Tell us about the first track that put you on the map of the electronic scene and how far you’ve come since. How did you start?
The first song I released was ‘On My Way’ a few years ago. This release came from a push to improve the finish of the music. I actually got myself an AirBnb out of town for a few days and told my roommate I’d give him $200 if I didn’t finish three songs. Since then I’ve really focused on improving production and mixing, and six months ago I quit my job to focus on finishing songs again. So I was able to complete House Sitting by combining these two things which are difficult but important.
2. Tell us about your latest ‘House Sitting’ project
Listen to ‘House Sitting’ on Spotify’
While working on my production skills, I obviously accumulated a huge amount of ideas, loops or even almost complete songs. Most are rubbish but some are pretty good. I finished and published House Sitting out of a sense of obligation to these great ideas. It’s always a good feeling to finish something that weighs on you, but I don’t know if I’ll ever get that full satisfaction. I still have over 100 songs that I want to finish.
3. Tell us something we wouldn’t normally know about you?
I have been playing classical piano since the age of 5 and I also write music for the piano. I lived in San Diego for eight years where I played open mic as a singer-songwriter on guitar. So it’s all quite different from the house music that I’ve been focusing on more recently.
4. Which night was the most memorable for you as a DJ and producer?
Probably see Bonobo at the Mirage in Brooklyn. I had been to EDM gigs before, but Bonobo’s music is more personal to me, and something really clicked seeing it in that setting. I think that’s a big part of why I’ve been able to stay so focused on electronic music over the past year.
5. Name a song that never gets old for you, no matter how many times you listen to it?
Lane 8 Brightest Lights
6. A dream collaboration and why?
Adrianne Lenker; she’s the best modern composer/artist I can think of.
7. If you could play at any festival, which one would it be?
8. How do I start a track? Tell us about your production process
My best tracks start with the sound design. Whenever I try to create a cool synth sound from scratch, I inevitably lose focus and get sidetracked by a melody or chord progression that resonates with that sound. It’s a really fun interaction between creating two different things that feed into each other.
9. Future projects? What are you currently working on?
I have another two-song version coming out in August. It’s unabashedly beachy and summery so I want to release it while it still makes sense.
10. The relationship between a dj and the audience is crucial, yet it seems fragile – how do you see the balance between giving the audience what they want and offering them something new?
The first thing I prioritize is playing stuff I’m passionate about, new or old. I think it’s impossible to read minds or please everyone, and if you try, you won’t please anyone. But I temper the “play what I want” attitude by making sure I play things that have the right energy level for the moment and the setting.
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