O’O

Ornithologically orientated dreampop duo

Who?

Victoria Suter and Mathieu Daubigné met while learning music theory as teenagers in their native Agen, France. Then Suter moved to Barcelona in 2010 and Daubigné followed suit six years later. Their debut release as O’o, 2018’s startling ‘Spells’, won plaudits for its bewitching vocal experimentation that was at times redolent of Laurie Anderson. ‘Touche’, their first album proper, is a multifaceted progression, embracing melody and colour and exploring the possibilities of sound manipulation from field recordings as well as the human voice (mostly Suter’s). Daubigné operates with a deftness and subtlety that makes ‘Touche’ such a deluxe listening experience from beginning to end.

Why O’O?

Suter was drawn to the unusual calligraphic formation of the Kauai Ō’ō’s name, while thumbing through an English anthology of weird words and phrases. Her interest piqued, she sought out the Hawaiian songbird’s distinctive chirrup. It’s a haunting cri de coeur, made all the more eerie in the knowledge that the bird had become extinct more than 30 years ago. That strong sense of melancholy permeates the music, though it’s also playful and sensual, sounding otherworldly but always grounded in the existential experience of being.

Tell Us More…

As a storyteller in the great tradition of the French chanson, Suter has a beady eye for the finer details that bring songs to life, with a wonderful command of both English and French. ‘Moon’ is an ambient mood board that evokes the languor of sleeplessness. ‘Somewhere’ explores the mystery of capturing songs from the air like a lepidopterist, and ‘Spin’ is written from the perspective of a big sister dispensing advice to a younger sibling at the funfair. The carnival ambience is reimagined while Suter’s remarkable voice rides over the undulating accompaniment, evoking all the excitement and terror of the waltzers.

‘Touche’ is out on Infiné

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