· Sonic Poems·

“Beware of nightlife vampires though, they will take you to a corner and enter in your mind by making you feel like your life is a mistake. If you see one, just run away or kiss your lover on the neck.” Night-timeis often an adventure. At twilight, tongues loosen, the tempo speeds up and the volume of the speakers increases. From the hit “Attitude” to the single “Boom Boom”, Lewis OfMan welcomes us into his sonic world. The songs that play there are nocturnal poems, assembled in his very first album, the aptly namedSonic Poems.

From his first compositions at 11 years old on Garageband, to the well-received Yo Bene (2017) and Dancy Party (2021), Lewis OfMan has always prominently featured music that resounds in the distance when the sun is only just starting to sink. With Sonic Poems, the Parisian producer takes a step deeper into the heart of the night. “Let’s get drunk and keep it light” proclaims the song “Misbehave”, which invites us to raise our glass to themistakes we make when we’ve had too much to drink, to the encounters we make at club exits (“Love Parade”), and to the messages sent in altered states (“Too Much Text”).

An unsurprising tribute, given the way in which encounters shaped Lewis OfMan’s journey in music. It all started with a remix project, which turned into an original song for Vendredi Sur Mer (“La femme à la peau bleue”). A surreal session in a bedroom with rapper Rejjie Snow followed, then openings with Yelle and productions for The Pirouettes and Fakear. It is no surprise, then, that to finalize his first album, Lewis Ofman, born Delhomme, visited Tim Goldsworthy and Bruno Ellingham (Massive Attack, LCD Soundsystem, The Rapture) in England.

However, although the disc is permeated with ananglophone touch, starting with the texts, which are practically all in English, it is not exempt from other scattered influences, inspired by OfMan’s travels. First with a trip to a fantasized Barcelona, contemplated from the Montjuïc hill (“Las Bañitas”), then with Tuscany (“Sorry Not Sorry”) before returning to Paris with softer love songs sung in French, like a nod to the songs that got Ofman known (“Regarde moi”). Songs constructed like poems, rollercoasters, or perhaps both.

Sofie Fatouretchi Royer is an artist and musician, born in California to Austrian and Iranian parents. A classically trained musician, she spent her teenage years in Vienna studying concert violin and viola at the Konservatorium; performing with the Junge Philharmonie in the Volksoper, Musikverein, Konzerthaus, and various concert halls.

Her work in music began when she started interning at Stones Throw Records, an American independent music label based in Los Angeles, and subsequently was hired as digital manager, a role which expanded to A&R; bringing several artists to the label. Her foundations in DJing began at a Stones Throw hosted night called 56, which took place at the now defunct Mr T’s Bowl in Highland Park. There she connected with Boiler Room, when they scheduled their first West Coast broadcast, and she was booked to open for Dam-Funk, J Rocc and Peanut Butter Wolf. She quickly became responsible for the Los Angeles outpost, curating and hosting shows, later expanding to business development, merchandise and creative direction, a move that saw her moving to New York and London.

As of 2017 she resides in Vienna, where she studies painting under Henning Bohl at the University of Applied Arts, as well as Philosophy, Psychology and English at the Universitaet Wien, plays violin in the Wiener Akademische Philharmonie, and works as a DJ, with her own radio shows on London’s NTS and Austria’s FM4. Her debut, self-produced solo album, Cult Survivor, is newly released on Stones Throw Records.

Additionally, an excerpt of contributed string performances, and/or arrangement: ORF1, Volksoper, Konzerthaus Wien, Musikverein Wien, Junge Philharmonie, Linda Sharrock’s Abyssity of the Grounds, Knxwledge & Anderson Paak’s Nx Worries, Mndsgn’s Body Wash, Teebs (Brainfeeder), Jonwayne’s Rap Album Two, film score projects for Jasmin Baumgartner’s Robin’s Hood and Lorenz Uhl, Artischoke.