After a trilogy of EPs ‘y?’, ‘</3’ and ‘it feels like thunder’, Anglo-French singer-songwriter Julia-Sophie Walker releases her debut album ‘forgive too slow’.
It’s been a long artistic journey for her having almost attained mainstream major label success as a member of rock band LITTLE FISH. But when that collapsed and an attempted reconfiguration as the more cerebral CANDY SAYS stalled, Julia-Sophie became disillusioned with the draining roller coaster of the music industry. Retreating into an independent DIY environment, to create music for the sake of making music, ‘forgive too slow’ is a deeply personal reflection on past relationships.
With her anguished vocals, these gently emotive songs combine traditional composition and experimental sound synthesis. The trip starts at ‘2am’ but as subtle beats stutter, ‘i was only’ heads into a haunting self-appraisal of life and longing, given extra poignancy by the addition of Gallic prose. Also an intense number, ‘lose my mind’ has these buzzy rumbles and skippy rhythms that illustrates its title.
A marvellous avant pop set piece, ‘numb’ is a striking statement with mantric rumbles before a frantic gallop takes hold where sung and spoken passages alternate with a fractured intensity. ‘falling’ to a minimal backdrop and eerily forlorn, this all recalls Emika as the train gathers pace, while ‘comfort you’ has contrasting moods with frantic beats and heavy drones sitting next to parts that are almost acapella.
‘just us’ is smothered in the otherworldliness of GOLDFRAPP’s ‘Felt Mountain’ and is even shoegazey in places, but comparative relief comes with ‘wishful thinking’ which is more like a catchy electronic pop song.
As she wants things to be ‘better’, there are signs of resignation as the beats get harder. Closing with the emotive longing of ‘telephone’, overtones of I AM SNOW ANGEL are captured on this rich ballad where gentle glassy texturing ably illustrate her fragility.
While this record is sad and despondent in the way that the late Françoise Hardy always seemed, Julia-Sophie does have hope on the horizon in her style of absorbing avant pop. One moment these songs can be ambient, then rhythmically skippy, then airy pop while sung in English and then spoken in French, each presents its own world weary character connected by Julia-Sophie’s fraught narrative.
Julie-Sophie said in an interview with ELECTRICITYCLUB.CO.UK: “Finishing and releasing ‘forgive too slow’ feels quite exposing. This album delves deeper into the complexities of relationships than anything I’ve done before, exploring themes of self-destruction, tenderness, love, and emotional struggles.”
This is what happens when people ‘forgive too slow’ and become trapped in their past, but does Julia-Sophie solve her woes? Maybe not yet and while she remains embroiled in pain, catharsis comes in this musical life laundry. Swathed in an intriguing electronic sound, her understated fulfilment combines emotional unease with an airy beauty for some satisfying thoughtful listening.
After nearly achieving mainstream success as a member of rock band LITTLE FISH, Anglo-French singer-songwriter Julia-Sophie Walker became disillusioned and retreated into DIY music making as a solo artist.
The end result was three excellent EPs ‘y?’, ‘</3’ and ‘it feels like thunder’ which captured her anguish and pain. But despite the emotional anguish of her vocal expression, Julia-Sophie always has hope on the horizon in her style of absorbing electronic avant pop.
Now she takes the plunge into the long form with her debut album ‘forgive too slow’. Providing a deeply personal reflection on past relationships, these gently emotive songs combine traditional composition and experimental sound synthesis. One moment these songs can be ambient, then rhythmically skippy, then airy pop while sung in English and then spoken in French, each presents its own world weary character connected by Julia-Sophie’s fraught narrative.
With the release of the heartbreaking second single ‘telephone’ from ‘forgive too slow’, Julia-Sophie kindly took time out to speak to ELECTRICITYCLUB.CO.UK about her creative process.
You opened your solo account with three EPs, did you regard these as an apprenticeship before you took the plunge with a full-length album?
Yes, the first three EPs I made were all about exploring sounds, seeing where my creativity would take me, who I was and wanted to be as a solo artist. This experimentation was crucial in developing my sound and style.
How do you look back on those EPs, particularly the first two which had the symbol coded titles ‘y?’ and ‘</3’ ?
Looking back on those EPs, I see them as pivotal moments in my artistic journey. They were experimental and raw, capturing my willingness to explore uncharted territories and express complex emotions through sound. ‘y?’ represented a phase of questioning and curiosity, while ‘</3’ delved into themes of heartbreak and vulnerability. These early works laid the foundation for my sound and continue to influence my music today.
What were the various pros and cons in the solo creative and production process at first?
Initially, navigating the solo creative and production process was both exhilarating and challenging. On the plus side, I had complete creative freedom to experiment with different sounds and ideas, allowing my unique style to emerge organically. The ability to make decisions independently and work at my own pace was incredibly liberating.
However, the process also came with its challenges. Without a collaborative sounding board, I sometimes struggled with self-doubt and second-guessing my choices. It was easy to get lost in the technical aspects of production, which occasionally pulled me away from the pure joy of creating music. Balancing creativity with the technical demands of production required a steep learning curve, but ultimately, it was a rewarding journey that made me a more versatile and resilient artist.
In terms of tech, what are your favourite tools and why? Are you quite software oriented or is hardware the best most tactile way to make music?
Although I do use software, my go-to tools are analog synths and analog drum machines. I believe they offer more depth and a richer, more organic sound. For me, there’s an unparalleled warmth and complexity that comes from working with analog equipment, and the hands-on experience of tweaking and playing with these instruments often leads to unexpected and exciting creative outcomes.
Which artists and producers have shaped your approach to electronic music?
Several artists and producers have significantly shaped my approach to electronic music. Pioneers like APHEX TWIN and KRAFTWERK have influenced my appreciation for innovative sound design and pushing the boundaries of electronic music.
Contemporary producers like Four Tet, Bonobo, Thom Yorke and James Blake have inspired me with their ability to blend organic and electronic elements seamlessly. Additionally, the intricate production techniques of artists like Jon Hopkins and the emotive, textured soundscapes of Nicolas Jaar have deeply impacted my approach to creating immersive and emotionally resonant music.
‘forgive too slow’ is about relationships and you have dug deeper than before, how do you feel now you have finished it?
Finishing and releasing ‘forgive too slow’ feels quite exposing. This album delves deeper into the complexities of relationships than anything I’ve done before, exploring themes of self-destruction, tenderness, love, and emotional struggles. The process was challenging, raw, and cathartic, but now that it’s complete, I feel a little empty and vulnerable. Sharing such honest emotions with listeners is both daunting and powerful, but I have done it in the hope that it resonates with people on a deeper level and because I don’t want people who have felt or feel similarly to feel alone.
What was most different in your approach when doing an album compared with the EPs?
The most significant difference in my approach when working on an album compared to the EPs was the level of depth and cohesion I aimed for. With the EPs, I was more focused on exploring sounds and taking creative risks on individual tracks.
However, for the album, I wanted to create a more unified and immersive experience. The album format allowed me to delve deeper into storytelling and develop my song and production arrangements. This required a more disciplined and sustained effort.
‘numb’ is a striking statement and observers have commented on the intense bassline, how did the track develop, especially with its distinct sections and changes?
‘numb’ is indeed a track that evolved significantly during its development. The intense bassline was one of the first elements I created, serving as the foundation around which the rest of the track was built. I wanted it to convey the feeling of underlying, incessant tension. As the track progressed, I experimented with distinct sections and changes to mirror my experience of fluctuating emotional states, from numbness to overwhelm, back to numbness.
The introduction starts with a minimalist approach, gradually building up layers and shifting the intensity to more complex rhythms and textures, creating a feeling of escalating pressure and reflecting my inner chaos and loss of control. My hope was that this contrast would help capture the dynamic nature of human emotion, how it can oscillate.
In the outro, the track strips back down, almost to its initial minimalism, but with a deeper, more resonant sound. This return to simplicity after the intense middle section is meant to illustrate the cyclical nature of life and emotion, the different ways we navigate or experience emotional storms.
Another intense one is ‘lose my mind’ which has these buzzy rumbles and skippy rhythms, was doing this one quite cathartic for you?
Yes, creating ‘lose my mind’ was incredibly cathartic. The buzzy rumbles and skippy rhythms were designed to capture the chaotic energy and disorientation I was feeling at the time. Working on this track allowed me to channel those intense emotions into something tangible. The process of layering these sounds and experimenting with rhythms was both a release and a form of self-expression, helping me process and make sense of my inner turmoil.
‘comfort you’ has contrasting moods with frantic beats and heavy drones sitting next to parts that are almost acapella, what was going on in your head to inspire that?
‘comfort you’ reflects my experience of feeling contrasting emotions. The frantic beats and heavy drones represent the inner franticness and stress I often feel, whilst the almost a cappella vocals symbolising how I might openly communicate myself. They are very different. I wanted to capture these opposing states and illustrate how they coexist in my music – I guess it is a statement about how easy it is for us to be to missed.
There appears to be comparative relief with ‘wishful thinking’ which is more like a conventional electronic pop song, was this a deliberate gesture?
Yes, ‘wishful thinking’ was a deliberate gesture towards a more conventional electronic pop sound. After exploring intense and complex emotions in my other tracks, I wanted to create something that felt lighter and more hopeful. This track serves as a moment of relief and optimism within the album, reflecting a desire for simpler, more straightforward emotions. It’s meant to provide a contrast and a sense of balance, offering a break from the intensity and a glimpse of positivity.
Are there any pivotal or favourite tracks for you on ‘forgive too slow’ and why?
‘just us’ and ‘telephone’ are special to me. For whatever reason, they touch me profoundly and have an emotional impact that resonates deeply within me. Every time I hear them, I feel the intensity and vulnerability that went into their creation, often bringing me to the brink of tears. These songs are not just tracks on an album; they are emotional experiences that hold significant personal meaning for me.
Who do you hope ‘forgive too slow’ might appeal to?
I hope ‘forgive too slow’ resonates with anyone who has ever struggled with complex emotions and the intricacies of relationships. I believe it will appeal to those who seek depth and authenticity in music. I want it to reach listeners who feel misunderstood or alone in their experiences, offering them a sense of connection and understanding. Whether they are navigating the highs and lows of love, dealing with inner turmoil, or striving for personal authenticity, I hope this album provides solace and a feeling of solidarity.
What are you own hopes and fears both personally and artistically as the state of the world continues to be less certain?
As the state of the world continues to be less certain, my personal and artistic hopes and fears are intertwined. The broader global issues—climate change, social unrest, and economic instability—pose existential threats that impact everyone, and I worry about how these challenges will affect our ability to live as kind and loving humans, let alone create space in our lives that enable us to continue to create. I am committed to my journey of personal and artistic growth, I work hard to contribute positively by working to keep human connections with people authentic. This I hope, although not huge, will play its small part in creating ripples of positive energy in the world, that I believe is more important than ever.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Julia-Sophie Walker
Special thanks to Jamie Halliday at Audio Antihero
After almost achieving mainstream success as a member of rock band LITTLE FISH who later morphed into the dreampop combo CANDY SAYS, Anglo-French singer-songwriter Julia-Sophie Walker retreated into DIY music making as a solo artist.
Reconnecting with her Gallic roots, disillusionment with her musical past and the disaster of Brexit artistically drove the Oxford-based musician and producer into creating music for the sake of making music, resulting in two enticing EPs ‘y?’ and ‘</3’ issued respectively in 2020 and 2021. 2022’s ‘it feels like thunder’ EP continued the progression but now comes the long awaited debut long player from Julia-Sophie entitled ‘forgive too slow’. As the title suggests, it is a contemplative body of work as reflecting on past relationships.
Trailing the glorious album is ‘numb’, a marvellous avant pop set piece which begins over a subtle rhythmic rumble with a stark haunted monologue reminiscent of Polly Scattergood’s spoken word contribution to Chris Liebing’s ‘And All Went Dark’. But then the track takes an about turn with a frantic gallop displaying an electronic affinity with independent artists such as EMIKA and VANBOT as sung and spoken passages alternate with the growing intensity.
As our heroine declares “I’ve been crying whilst you’re asleep”, a concluding barrage of unsettling cut-up voices highlights her state of mind. The superb video itself illustrates the fractured narrative as grainy shaky images of the seaside are fast cut to point towards cerebral self-destruction.
While Julia-Sophie’s musical journey remains embroiled in pain, the catharsis is leading to hope and her artistic fulfilment with an intriguing electronic sound that combines emotional unease with airy beauty.
It was hoped to be a year of positive electricity but with the oddball burst of negative waves, 2022 was summed up by the title of its best album.
The product of Finnish duo SIN COS TAN, ‘Living In Fear’ captured the anxieties of living with The Bear Next Door in a post-pandemic world. With billionaires taking over social media with the intent of allowing the extreme right wing an increased voice, it was as if the lessons of Trump and Bolsonaro had not been learned.
‘The Wolves Are Returning’ warned xPROPAGANDA on a track from their excellent album ‘The Heart Is Strange’, the message coming from two Germans whose grandparents’ generation “did nothing” and had made the mistake of opening up the door to the Nazis was extremely poignant.
It was as if The Cold War had never ended; the poetry of one who has escaped ethnic genocide and been separated from next of kin as a refugee has substance. So for Alanas Chosnau on his second album with Mark Reeder, this was ‘Life Everywhere’ and provided a deeper statement on life during wartime. Meanwhile China’s STOLEN presented their ‘Eroded Creation’ and explained ‘Why We Follow’.
Battles both worldwide and personal were being reflected in music everywhere with ‘War’ by I SPEAK MACHINE being another example. Things did not get much cheerier with Rodney Cromwell whose long-awaited second long player ‘Memory Box’ provided commentary on a sadly post-truth world, the so-called “alternative facts” as Donald Trump’s extremely dim advisor Kellyanne Conway liked to put it.
Meanwhile, MECHA MAIKO maintained it was still ‘NOT OK’, I AM SNOW ANGEL felt it was now a ‘Lost World’ and Swedish duo SALLY SHAPIRO made their comeback by reflecting on ‘Sad Cities’.
As sardonic as ever, DUBSTAR presented their second collection of kitchen sink dramas since they reconfigured as a duo with ‘Two’ and reunited with producer Stephen Hague for their most acclaimed record since their 1995 debut ‘Disgraceful’.
On a more optimistic note, Italians Do It Better brought their cinematic world to London with headline shows by DESIRE and MOTHERMARY who each had new long form releases to air, while shyness was nice for the most promising breakthrough act of the year Gemma Cullingford who got all ‘Tongue Tied’ on her second long player. Meanwhile DAWN TO DAWN, ULTRAFLEX and H/P offered electronically escapist solutions to the year,
But KID MOXIE was happy to ‘Shine’ with the best video of 2022 while CZARINA got mystical with ‘Arcana’, Karin Park looked back at her ‘Private Collection’ and Patricia Wolf explored ambience on ‘See-Through’. Other female talent that shone brightly in 2022 included Norway’s SEA CHANGE, Sweden’s Hanna Rua, Alina Valentina from The Netherlands, Mexican Valentina Moretti and Anglo-French avant songstress Julia-Sophie but sister / brother duos MINIMAL SCHLAGER and SPRAY proved siblings could continue to work well together in synth.
40 years after the release of their debut album ‘Happy Families’, BLANCMANGE returned home to London Records for a ‘Private View’ while mainman Neil Arthur was keeping himself busy with FADER too. Having being shelved for 30 years, the second ELECTRIBE 101 album ‘Electribal Soul’ finally saw the light of day. And some 39 years after it was first conceived, the lost Warren Cann and Hans Zimmer opus ‘Spies’ was released in a new 21st Century recording by the HELDEN Project’s lead vocalist Zaine Griff.
Although PET SHOP BOYS celebrated their career with the magnificent ‘Dreamworld’ tour for the best live event of 2022 and joined SOFT CELL in the ‘Purple Zone’, Marc Almond and David Ball presented the disclaimer ‘*Happiness Not Included’ before announcing that they would be performing at a run of outdoor events in 2023 despite having stated their 2018 O2 extravaganza would be their last.
Also having declared a final album in 2014, RÖYKSOPP returned with the triple volumed ‘Profound Mysteries’ that featured Susanne Sundfør and Alison Goldfrapp.
Veterans Howard Jones, William Orbit, Jean-Michel Jarre and Wolfgang Flür as well as long-standing Nordic combos LUSTANS LAKEJER and A-HA released new albums but while the quality across the releases was mixed, fans were loyal and happy. After various trials and tribulations, TEARS FOR FEARS returned with ‘The Tipping Point’ and erased memories of the lacklustre 2004 comeback ‘Everybody Loves A Happy Ending’, but the duo were unable to capitalise when the majority of the UK concert tour of stately homes was cancelled due to an unfortunate accident that befell Curt Smith.
Creating a dehumanised technologically dependent Sci-Fi world, DIE KRUPPS opted for more machine than metal under their EBM pseudonym DIE ROBO SAPIENS. With NASA making its first steps back to the moon with the Artemis project, fittingly Italian producer EUGENE spent ‘Seven Years In Space’ and Ireland’s CIRCUIT3 looked back at space travel’s past on ‘Technology For The Youth’. Back on earth, THE WEEKND was still being accused of stealing from synthwave while coming up with the song of the year in ‘Less Than Zero’. In the meantime, having infuriated audiences by saying “f*ck that ‘synthwave’ stuff as u name it” in 2018, KAVINSKY was ‘Reborn’ with a second album that had much less of the wave and expanded into broader electronically generated templates with the occasional funkier overtones.
Celebrating ‘40 Years Of Hits’ on a sell-out arena tour and issuing a new album ‘Direction Of The Heart’ which featured a guest appearance by Russell Mael of SPARKS on the single ‘Traffic’ with the obligatory ‘Acoustic Mix’, as the excellent book ‘Themes For Great Cities’ by Graeme Thomson highlighted, the best years of SIMPLE MINDS are now well behind them. They are a poor facsimile of the great band they once were and as a special Summer concert in Edinburgh in honour of ‘New Gold Dream’ proved, Jim Kerr and Co can’t even play their best album properly.
Music-related books continued to be popular with Martyn Ware and Karl Bartos respectively writing their memoirs ‘Electronically Yours Vol1’ and ‘The Sound Of The Machine’. In a wider historical context, that crucial 1978-1983 period where electronic pop was more or less invented got documented in the encyclopaedic ‘Listening To The Music The Machines Make’ by Richard Evans.
2022 saw several prominent figures depart for the jukebox in the sky; Vangelis, Manuel Göttsching, Angelo Badalamenti, Julee Cruise, Dave Smith, Herb Deutsch, Terry Hall, Robert Marlow and Andy Fletcher will be sadly missed but ELECTRICITYCLUB.CO.UK was particularly devasted by the passing of German electronic legend Klaus Schulze only 4 days after he gave a rare interview to the site.
Meanwhile Dave Gahan and Martin Gore announced yet another tour of underwhelming arena shows plonked into stadiums for an as-yet-unfinished album that at least had a title ‘Momento Mori’. Ticketscalper took advantage with so-called dynamic pricing (or legalised touting) as hapless Devotees were fleeced thousands of dollars in North America… all this just to see a continually ungrateful frontman (who didn’t even sing is own words on a DEPECHE MODE song until 2005) gesture with a microphone in the air on a catwalk rather than actually singing on it and to possibly hear a pre-1985 song performed that will inevitably ruined by The Drumhead and The Noodler!
As Juls Garat of Massachusetts goth band PILGRIMS OF YEARNING observed via social media: “If you’re spending a kidney on DEPECHE MODE tickets and not attending a local show this weekend, I don’t wanna see you complaining that there’s no scene, local venues or new music anymore”. With the lack of curiosity amongst audiences who were content with nostalgia and the like, it was a difficult year for independent acts.
There is no easy answer and as the old saying goes, you can take a horse to water but you can’t force it to drink. But one promoter that did hit on an innovative idea was Duskwaves who came up with afternoon synth gigs. Hosted at various locations in the South East of England with the aim of drumming up daytime weekend business at venues, events started at 2.00pm and ended by 6.00pm to allow for an easy journey home or possibly dinner afterwards. Artists such as YOUNG EMPRESS,INFRA VIOLET,STRIKE EAGLE and AUW joined in the family friendly fun and while the concept was unusual, with classic synth audiences not getting any younger, it has potential.
While the worldwide situation remains uncomfortable and unsettling, for The Cold War generation, it all seemed strangely familiar. As Jori Hulkkonen of SIN COS TAN said in an interview with ELECTRICITYCLUB.CO.UK recently: “It feels kind of comfortable to be back in that same state of mind that you grew up in!! It’s like you grew up in not a nice place, but you get 20-30 years out of it and then you get drawn back into The Cold War state of mind. It’s where I come from and there’s nothing good about it, but somehow feels very familiar so you can handle it in a different way”.
The Cold War inspired songs such as ‘Enola Gay’, ‘Fireside Favourite’, ‘All Stood Still’, ‘Let’s All Make A Bomb’, ‘I Melt With You’, ‘Dancing With Tears In My Eyes’ and ‘Five Minutes To Midnight’ which encapsulated the nuclear paranoia of the times. So if the current tensions go on any longer, how will artistic expression be affected and driven?
But as Synthesizer Patel actor Sanjeev Kohli wittily remarked of the UK’s 41 day Prime Minister aka Mad Lizzie following her successful leadership bid: “Liz Truss has now been trusted with the nuclear button. I honestly wouldn’t trust her with the bossanova button on a broken Yamaha keyboard”.
In a year which saw the bizarre scenario of a black vicar worshipping Enoch Powell on the repulsive gammon TV channel GB News and the truth about Tory PPE scandals becoming clearer, Richy Sunak, Ugly Patel, Cruella Braverman and Krazi Kwarteng continued to be the ultimate race traitors in their Westminster tribute band A FLOCK OF SIEG HEILS. Failing to look in the mirror, their role as collaborators was all as part of a wider self-serving mission to help keep the whites Reich and line the pockets of their already loaded banker mates instead of paying nurses a fair wage. Nurses are for life and not just for Covid. So what did happen to that £350 million promised for the NHS by that pompous lying posh boy Boris Johnson if Brexit happened? As Tim Burgess of THE CHARLATANS summed it all up rather succinctly on Twitter: “Worth remembering that the real enemy travels by private jet, not by dinghy” ✊😉
Anglo-French singer-songwriter Julia-Sophie Walker first tasted near-mainstream fame as a member of rock band LITTLE FISH.
Signed to Island Records, this came in a time before social media and streaming took over the world. When LITTLE FISH disbanded as 2012 concluded, they evolved into the cerebral independent dreampop combo CANDY SAYS and it saw Julia-Sophie reconnecting with her Gallic roots.
But with the disillusionment of Brexit and her musical past, the Oxford-based musician began working independently and adopting modern-day DIY production techniques.
The end result has been music of an artier electronic bent with a Franco-driven focus to make music for the sake of making music to attain her artistic fulfilment. With an IAMAMWHOAMI style of cryptic hushed engagement, her first EPs 2020’s ‘y?’ (‘why?’) and 2021’s ‘</3’ (‘heartbroken’) issued respectively in 2020 and 2021 have now been compiled as the debut Julia-Sophie album by Third Kind Records who were also the label behind the release of the debut long player by Hattie Cooke.
Composed while in a state of personal crisis, the ‘y?’ half is full of depth, hazy but emotional and dark yet strangely spirited. In asking the question “why?”, ‘breathe’ is shaped by a sparse backdrop of percussive noise and drones, as Julia-Sophie allows her voice to shine before a sumptuous arpeggio kicks in and the remainder of the song expands.
Utilising a frenetic off-kilter set of pulses as a rhythmic centre, ‘x0x’ is an emotive avant pop statement as a forlorn Julia-Sophie declares “nobody wants me here”; and when it changes pace and takes a Gallic turn, its obscure mantra makes for compelling listening.
With a wonderful cacophony of delightfully odd sequences, ‘i told you everything’ acts as an instrumental interlude while in some ways a conventional break-up song, ‘i left you’ is arranged as an absorbing slice of folktronica, with scattered synthesis running in and out of the aural spectrum.
Into the ‘</3’ half, the confessional continues the evolution. Themed around heartbreak, ‘and you know it’ asks “are you happy?” before proceedings move into an unexpected exercise in electro-jazzy two step.
Playing with glitch and an icy variant of mutant bossa nova, the lengthy ‘cctv’ is beautiful yet unsettling, but it then diverts into an experimental arpeggio that mesmerises in its layered weirdness. Utilising a speedy machine beat, ‘i wish’ is an eerie showcase for Julia-Sophie’s airy vocals asking “what do you want from me?” as the kaleidoscopic setting of synths and voice samples hypnotise.
Pitched up and at various frequencies, more vocal samples and manipulations shape the start of ‘love let you down’ before Julia-Sophie emotes her vulnerability and tearful heartbreak; “I want to see us love again” she pleads before the voices slowly melt into the backdrop.
By experimenting with song structures, synthetic beats and widescreen atmospheres to soundtrack her fear of rejection, Julia-Sophie has presented an intricate and intriguing collection of elegant avant pop in ‘y? + </3 //’.
The recently issued ‘it feels like thunder’ EP begins a new trilogy and another journey but for now, here is an opportunity to hear how it all began.
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