“a.gris blends indie-folk and electronic in new single “oblivion 2025”
The essence of solitude and introspection that permeates the lyrics of “oblivion 2025” hint at the isolated environment in which the song was born. The opening lines, “I need some rest / so hide me underground,” immediately set the tone, yet the actual sound of the track veers in a different direction entirely. It is dynamic and relentless, blending together diverse styles that are not typically found converging. Delemard openly acknowledges his influences, stating that the track is a fusion of indie-folk reminiscent of Elliot Smith, the edginess of Linkin Park, and the avant-garde elements of PC Music exemplified by artists like Oklou.
What truly makes this project stand out is the seamless integration of these contrasting styles. “oblivion 2025” serves its purpose as a lead single admirably, while boldly eschewing the traditional structure of an alternative rock tune. Delemard deliberately defied conventions, explaining, “It was the first tune I wrote without the verse-chorus thing. I’m very tired of the basic verse-chorus structure of pop music. I thought it was catchy enough but odd enough to be a single.” This departure from the norm marked a pivotal moment for Delemard, emboldening him to venture into uncharted territory.
Reflecting on the genesis of the song, Delemard reveals that it was the catalyst for his solo endeavor. Encouraged by his girlfriend to pursue his unique vision, he recalls, “My girlfriend always told me that you should do your own thing. You should do your own thing but I never had the guts to do it and I was very shy about it. I made this song and in my head I thought ‘let’s do it really quickly’. I wrote the whole EP in two to three weeks.”
Transitioning from his success with the band Hoorsees, embarking on a solo project was a bold move for Delemard. Yet, the strength of the songs justifies his decision, exuding a fresh and distinct energy that sets it apart from his previous work. Characterized by a decidedly bedroom pop aesthetic, the tracks bear the unmistakable imprint of a solitary creative process, devoid of live instruments. Delemard admits, “I never used live drumming in this project, I only used samples. At first with the engineer I had a discussion about it but he said no, leave it like it is, you don’t need a real drummer. I was afraid it would change it too much and sound less industrial with real drums.” This deliberate choice, however, does not compromise the project’s sonic scope, with expansive synths reminiscent of M83 and The Weeknd. The electronic foundation of the project served as the primary catalyst for Delemard’s creative exploration, as he reveals, “It started with the electronic riff and then over that I created some folk arpeggios.”
The amalgamation of these eclectic genres imbues the project with a captivating and multi-layered listening experience. Each revisit unveils new dimensions that reward attentive listeners. Although future plans for the project remain somewhat ambiguous, Delemard expresses his desire to perform these songs live. Teasing a potential performance as a duo with a drum machine, he emphasizes his intention to transmute the electro-folk compositions into a live setting that emphasizes their electronic core. While the timeline for these live shows remains open-ended, the prospect of witnessing these genre-bending soundscapes come to life onstage is undeniably tantalizing. If the live performances remain true to the project’s exceptional quality, audiences can anticipate an unforgettable experience.