Eve Maret

Tennessee tinkerer drops electronic gold


“I’m a walking contradiction, a combination of opposing forces, spirit and body,” says producer Eve Maret. Her wide sound palette supports such a bold statement too, blending digital and modular synthesisers, vocoders and field recordings with clarinets, electric bass and guitar, crafting driving, lyrical electronic pop that isn’t afraid to make a dizzying left turn every now and then. Currently based in Nashville, her influences range from 19th century orchestral and choral works, to the Fluxus movement and kosmische, with just a little helping of good old-fashioned funk and disco.

Why Eve Maret?

It hasn’t taken long for Maret to rub shoulders with a host of experimental pop’s sonic intelligentsia, playing shows across the US alongside the likes of Matmos, Xiu Xiu and Sun Araw. Her 2018 album, ‘No More Running’, saw extensive critical acclaim, including a loving nod from Iggy Pop. Then in 2021, Maret contributed to ‘Moebius Strips’, the audio installation and album commemorating the work of Dieter Moebius, collaborating with Hans-Joachim Roedelius, Michael Rother, Mark Mothersbaugh, Geoff Barrow, Sarah Davachi and Jean-Benoît Dunckel. If you combined all of those names into one, you might well get something similar to Maret’s latest album ‘New Noise’.

Tell Us More…

Maret has frequently expressed that a sense of community and collaboration is key to her practice. In 2018, along with fellow explorative artists Jess Chambers (aka Dream Chambers), Deli Paloma-Sisk and Arlene Sparacia, Maret set up Hyasynth House, an electronic music collective and education centre for female, trans and non-binary artists in Nashville. Electronic music meet-ups, live shows and even live-scoring events followed, and Maret continues to lead Nashville-based workshops and organise live music events in various guises.

‘New Noise’ is out on Curious Music

You May Also Like