Visual Electronic Music

S A Y C E T is Pierre Lefeuvre's Project ---

AN ORGANIC JOURNEY

At first glance, Saycet's journey may seem peculiar. In reality, it is extremely fluid, as if guided by an external force pushing towards the logical fulfillment of his destiny as a musician, composer and producer. A backward evolution away from our current era, which churns out artists non-stop – a path that has made Pierre Lefeuvre – the brain behind the project for the last 15 years – a figurehead in the French electronic music landscape.

When he released his first album, 2005’s One Day At Home, he built upon a genre that had fallen into relative disinterest: deliberately melancholy, errant electronic music, made somewhat more accessible by pop melodies and inventive, experimental beatmaking. An outsider by nature, he was nonetheless spotted by some influential media outlets, finding an international fan base that would remain faithful to him through the years.

With time, his creative work became more refined, and his influences merged into a highly personal approach that succeeded in linking a certain tradition of cerebral music with an opening to a wider audience. 2010’s Through The Window and 2015’s Mirage continued the project’s evolution towards a more timeless sound that shone through its arrangement work and an asserted versatility. Tours of Asia and collaborations (with Juliette Armanet and Yan Wagner among other) helped Saycet grow further (yet still outside of the mainstream’s radar,) nonetheless finding his niche on the international music map. His approach to live performances cemented his place as an innovator, always in search of new aesthetic grounds, with stage shows that implemented video projection as a source of lighting rather than as mere visual illustration, creating a truly immersive experience in the process. 

Somewhat accidentally, Lefeuvre opened the doors to composing via images – a logical, uncalculated continuation for this production artisan, whose composition work is nourished by visual art and cinematic culture. He created his first score – for the 2019 feature Un Vrai Bonhomme – and thus started making headways into the circle of pop music composers who work with filmmakers. He also composed all of the music for La Révolution, a French series produced by Netflix (to debut in the fall of 2020,) as well as a soundtrack (split with Laurent Garnier) for the Canal + documentary Bastard Lion.

An ideal preamble for a fourth album recorded in his brand-new Parisian studio, which promises to be his most accomplished work. Wavering between melodic piano pieces and powerful club tracks, the album will feature the two complementary energies that inform the unique artist's work.

Going forward, Saycet is also slated to be in residence in 2021 for a one-of-a-kind creative project built around the Château de Versailles’ architectural heritage and instruments.

Live Team, Zita Cochet: Scenography // Video

Albums featuring Vocalist: Phoene Somsavath (Through the Window & Mirages) / Yan Wagner / Juliette Armanet

pomodorosa, a Tokyo-based creator, composed for Suntory’s “Protein Water” and Nissin’s “Cup Noodle” in the 2000s. He contributed to Kids on the Slope as a playwright. In the 2010s, he designed characters for Listeners and artwork for Calpis. Since the 2020s, with vocalist “Rosa,” he’s gained global fans in jazz and city pop. As of 2025, he has 80,000 Spotify listeners, with “Bourbon” going viral, boosting his Gen Z fanbase via his illustrations.

was in 1996 that Jay-Jay Johanson, a young man from a cold climate, fascinated by the Bristol sound they called trip-hop and Portishead in particular, first tapped delicately on our eardrums.
The intoxicating album that definitively put this rare and elegant Swede on the map was called Whiskey. It was the beginning of an enthralling adventure. In only a few songs he revealed a family tree that spread its roots far and wide: on one branch Lee Hazlewood, or pop from Talk Talk or Nilsson, on the other John Coltrane with Johnny Hartman, and a whole army of calm jazz or symphonic
recordings sampled from everywhere imaginable.
Almost 20 years later he has returned with an
incredible new album. This new release is called Opium and it contains the very essence of Johanson’s music: an ease with inventing melodies, a voice that gently caresses, and the jacked up, heady rhythms that lift and carry the songs. From the peaceful harmonica opening of Drowsy / Too Young To Say Good Night to the smoke-wreathed love song I Don’t Know Much About Loving, via titles with a sporadic and light groove (NDE, Alone Too Long), Opium is a courageous offering. Johanson opens his heart with
fearlessness and modesty, gracefully lowering his guard and evoking the questions that torment men of his age: love, solitude, immaturity. The songwriting is unerring, the words have a suppressed poetry. This
new Johanson is the work of a guy who has survived the avalanches, who is no longer looking for answers and is content to sketch out the perspectives in as many songs. Some titles are serious (Harakiri), but others immediately take up the reins casting a more
gentle, peaceful light, like Scarecrow, a collaboration with Robin Guthrie that would not have sounded out of place on a Cocteau Twins album, or of the strange positivity of Be Yourself or I Love Him So.
The strength of Opium is that it asks questions that don’t necessarily have an answer; it offers a collection of songs freed from any certitude but which convince
through their modesty, through their precision.
In short, Jay-Jay at his best.

After a 6 year hiatus, Texas will be releasing a brand new studio album entitle 'The Conversation' on 20th May.

Wasuremono 忘れ物 (Japanese noun. Meaning: lost article; something forgotten.)
is a musical project driven by William Southward and his love to write, record and meticulously arrange atmospheric pop songs in his shed studio in Bradford-On-Avon, UK. 
All of the music is released on ‘The Wilderness Records’ a record label setup by William in 2013.



“Gorgeously melodic, motorik pop” - The Guardian

“They’ve got a real warmth and purpose to their song writing” - Steve Lamacq BBC 6 Music.

“Wasuremono… means anything forgotten or left behind in Japanese. No chance with this brilliant band.” - Lauren Laverne BBC 6 Music.

“… an innovative, richly widescreen experience – the sort of band that really decent speakers were made for." - Louder than War

SCOTT MATTHEW is a singer/songwriter, born in Queensland (Australia), but has been living in New York for many years now. He has described himself as a 'Quiet-Noise-Maker' with a passion for ballads. In 2006 he has received a lot of attention from John Cameron Mitchell`s film SHORTBUS. Scott Matthew wrote the theme song 'In The End' in addition to five more songs performed in the film by himself and featured on the soundtrack. 

Fans of the Japanese animation-serial GHOST IN THE SHELL had the chance to discover his haunting voice before. He provided vocals on seven songs for the soundtrack of the season 'Stand Alone Complex', all being composed by YOKO KANNO, including the Closing Theme Song 'Lithium Flower' . This animation-serial generated lot`s of exposure worldwide, when the show was aired also outside of Japan on Cartoon Network`s in the U.S. and on MTV Europe. 

He has earned high respect among critics and fans alike since his self-titled debut in 2008. His previous five solo albums made him stand out from the crowd, especially as a songwriter with his highly emotional songs. Scott Matthew writes and sings of the longing and disappearing of love, like hardly anyone else.

For the recording of his Christmas-EP SILENT NIGHTS (2008) Scott Matthew invited his Australian friend and colleague SIA into the studio for a duet. He had also the privilege to open the concerts in England and Australia for today's Superstar on her 'Some People Have Real Problems' Tour.

In 2013 Scott Matthew released A covers-album UNLEARNED. His personal hit-parade. In a wide varity of songs he discovered, felt and worked out the emotional core with so much respect, that it becomes obvious, that these cover versions are not foreign songs at all, but in a way his very own, original material. He makes them his own songs. For example what come of the originally quite trivial Pop smash 'I Wanna Dance With Somebody' by Whitney Houston is a wonderful, piano-dominated ballad.  

The album release in 2016 was the dreamlike beautiful masterpiece of sadness LIFE IS LONG, a collaboration with the Portuguese composer RODRIGO LEAO. Scott Matthew contributed the lyrics and his intense singing to the melancholic arrangements of the Madredeus founding member.

His sixth studio album is titled ODE TO OTHERS (April 2018). With this album there is a departure from the subject of romantic love and the disappointments that can come from such endeavors. Instead this collection of songs pays homage to love in a broader sense. Honors are bestowed to family, friends and the mistreated both alive and deceased. Actual places also play a part of some of the songs subjects. His Australian childhood or his adult home of New York. As always done in the sentimental and deeply personal style of Scott Matthew.

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