Relight

« A soft but very breath taking album, a very elegant blend with Jamaican flavours, haunting compositions, fluidity and clearlight sound quality, their dub fades into electro-ambiant chamanism and becomes a magic sound installation »

From Le Monde to 20 Minutes, from Keyboards Magazine to Telerama, reviews of Dubphonic’s “Smoke Signals ” (2003) were all over positive. First album of the French trio after a cult 12″ for the Chicago based label Guidance Recordings, called Smoke Signals, was entirely instrumental. It soon became a music supervisors favorite and tracks were being picked up for series such as “Six Feet Under ” and “Dexter “.

After a long tour with the Japanese band Audio Active and a handful of concerts, and while their remix of Tosca’s “Orozco ” was being spun all around the world, the band went back into the studio in 2004.

If inspiration met the rendez-vous, Stefane Goldman (guitars/electronics), Alexis Mauri aka Alexkid (programming & production) and Sylvain Mosca (programming & electronics), they were not fully satisfied with the results and agreed that time would not be an issue. They wanted the best for their second album.

Four years in-and-out of the studio later, eleven new compositions were completed and finalised for the fresh new album Relight.

During the deliberatly very slow creative process, four of these new pieces naturally evolved into songs with guest vocal performances by Cuban-American Liset Alea (previously heard on Alexkid’s second and third album), Euro-American Daniella D’Ambrosio (Nouvelle Vague, Aswefall), Brasilian CÈu (whose new album Varagosa is about to be released in Europe) and English Mau (co-founder of Earthling and several other projects).

The band members plays most of the instruments and and writes most of the repertoire themselves.

For certain special takes, they called in brilliant musicians such as Jean-Philippe Rykiel and Rodriguez Jr. on electric piano, Jérémie Poirier-Quinot on flute and Prince Zober on percussions.

Their different inputs and the various palette of the guest singers/writers, enriches the bands unique sound while at the same time keeping the cinematic essence of their music, more obvious than ever in tracks like “Nora Sun”, “Last Resort Hotel” or the magnificent closing number “Outland”.