Sourface

What they have created is a reminder that things don’t have to be bleak, that the sun is just around the corner.” Joyzine

"Counter Culture" Rough Trade

“Their fresh take on life and music is a glimmer of light in the gloom”  Rodeo

“a wonderfully surreal cocktail of twists and turns” God Is In the TV

head of the release of debut album The Eternal Summer next month 22nd Month, eclectic Anglo-Parisian quartet Sourface share the heightened rock melodrama of new single ' Vin Rosé'.

A 5 minute epic sung entirely in French, 'Vin Rosé' leaps effortlessly between slick lounge-pop and harmony-laced sunshine-psych; orchestral arrangements pile high on top of each other until reaching the summit of full blown rock-opera. The track culminates to something so bombastic that it wouldn't be out of place on HMLTD's The Worm.

The latest teaser from their forthcoming debut album The Eternal Summer - Due 22nd March - 'Vin Rosé' encapsulates to a tee the ambitious wide-eyed eclecticism that is Sourface's forte. Not only does the upcoming record mingle blistering post-punk (‘‘Lizard King) and technicolour La Femme-esque psych-funk (Solaire’), it does so under the wing of a colourful narrative arc, which sees the band defeat an ultimate world-conquering evil in the 'Lizard King' himself, and restore the power of sunlight to a bedevilled universe. It's a story that has been brought to life by the band in comic book form.

Accompanied by a animated music video set within this comic book world - Vin Rosé comes at a crucial moment in the narratives. The animation depicts the band finding a shard of light, using it to destroy that evil corporation (Bossi Corp), and restore all colour and life to world, as the vocalist/guitarist Ludo Aslangul explains: "Vin Rosé dramatises the grand battle between Sourface and the Lizard King, positivity and despair, endless summer and eternal darkness. Pouring every last drop of ecstasy, despair, hope and dread into the figurative glass, Sourface encourages you to drink to madness, courage, and most importantly, to the very last drop."

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Formed at University in London right before the rupture of the pandemic as a means of channelling hope, manifesting their lives and looking to the future, the four-piece, now split between Paris and London, regularly perform in both cities, sing in both respective languages, infected by the spirit of both distinctive cultures.

Recorded at the band's self-made Babylon Studio in Paris during the heatwave of 2022, The Eternal Summer - due for release on the week of the 2024 Spring Equinox - offers an eclectic 11-song sequence celebrating sunlight, abundance and positivity, while exploring the dangers of having such things stripped away from us.

Marbling yacht-rock, jazz, funk, post-punk, and disco-house, the quartet fail, miserably, at wiping the grin off their (sour) faces. As giddying as musical theatre in the way they shift so eclectically from scene to scene in a flurry of sunshine melodies and grinning orchestrations, the band have already garnered the favour of indie press stalwarts Rough Trade, God Is In The TV, Still Listening, Clunk, Joyzine, Rodeo, Wax and Last Bus Magazine, as well as support slots for Cassia and Boyish. 

New Year single 'Careless Love' accompanied a sold-out headline show at London's Paper Dress Vintage and was heavily circulated on social media, achieving upwards of 200k views on the day of it's release.

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Sourface are Ludo Aslangul (Lead vocals, Guitar), Alex Brunstein (Bass, Backing vocals), Matt Isles (Keys, Backing vocals) and Tom Waldron (Drums, Percussion, Backing vocals)

More about 'Sourface':

The debut album from Anglo-Parisian quartet Sourface - The Eternal Summer - is, in one sense, an album about discovering freedom from depression and adversity. In yet another, it’s about Sourface making an album in a closted Parisian paradise - via an eclectic buffet of Yacht Rock, post-punk, french jazz and disco-house; with side orders of the Charlie and The Chocolate Factory soundtrack, Fear and Loathing in Las Vegas, a Fender Rhodes, and The Doors’ ‘Celebration Of The Lizard’...

“The dominating moral narrative of the album is ‘if you pour enough positivity into a situation, you will defeat your lizard king’”, drummer Tom Waldron explains, “it directly reflects on our experience of making this album - just pouring enough positivity into a situation so the album just ended up getting made.”

Oh yeah, ‘Lizard King’. More than a Jim Morrison reference, in a final, fantastical Marvel sense, The Eternal Summer is set in a fictional world where sunlight is the source of energy feeding everything with life. The band’s evil manager Tony Bossi, AKA ‘Lizard King,’ builds a machine to control the sun and, in turn, the entire population. As a consequence Sourface righteously conspire to charge the machine with so much sunlight that this machine explodes - as told on dramatic penultimate track ‘Vin Rosé’ - and all that solar energy surges back out into the world. This ushers in ‘The Eternal Summer’ and allows the city to prosper once more. Are you following? It’s a story that the group have also mapped out in comic book form.

This flair for expansive, multi-disciplinary creativity first brought Sourface together, in fact. Ludo Aslangul (guitar/vocals) Matt Isles (Keyboards), Alex Brunstein (bass/vocals) and Tom Waldron (drums) bonded during their first year at University, filling their spare time with various creative projects - short films, illustrations, a ‘failed’ covers group. In fact, the list of covers they haphazardly performed reads like the future Sourface blueprint for The Eternal Summer: ‘Indian Food’ by Dumbo Gets Mad. Serge Gainsbourg. Thundercat. The Doors. “We did a Beach Boys song, which was terrible”, says Ludo, “that’s what finished us being a covers band.”

Almost as soon as they began working on original material, the dark curtain of lockdown was drawn over them. As a result, the band were forced to write their first two EPs - Daytime’s Past, and Sourface - in isolation, meeting for writing sessions when restrictions permitted. And when they were finally able to perform live, it was mostly to sat down audiences:

“That definitely stimulated the desire to move from the first 2 EPs, which were quite indie, bedroom’y - to making something that was completely going against that and trying to get someone out of their seat; to have a smile on their face. Laugh. Dance.” Ludo explains. “Our music is definitely a response to a kind of gloominess, a reaction to negativity, us trying, manifest an uplifting spirit.”

Positivity, hopefulness, joy - these are the buzzwords for the Sourface sound, bent both sonically, and philosophically towards escapist, uplifting frames of mind. In fact their very name harks back to their carefree student days - sneaking up to the rooftops of their university building, soaking in the views of night-lit London, letting their inhibitions go - “We had a phrase for this”, says Tom, “being on the surface - being on the surface of life.” It’s a catchphrase which morphed quickly into the more enigmatic ‘Sourface’.

And true to form, The Eternal Summer is an album that fails, miserably, at wiping the grin off its face. It’s as giddying as musical theatre in the way it shifts so eclectically from scene to scene in a flurry of sunshine melodies and grinning orchestrations. In a mere 10 minutes a listener may be exposed to the zesty post-punk of the ‘Lizard King’, the gleeful yacht-rock of ‘Careless Love’ or the shuffling jazz-whimsy of ‘Sonny’.

A proud expression of their Frenchness too - those many francophonic artists that found success beyond their native country - Cortex, La Femme, Serge Gainsbourg - all embed themselves in The Eternal Summer’s many French language tracks. ‘JMCF’, ‘Lacher Prise’, or the album opener ‘Solaire'. The band even sent a couple tracks to Cortex frontman Alain Mion, reportedly to his approval.

France - more specifically the suburbs of Paris - was the site of the album’s unique recording too. During the heatwave of the summer of 2022 the band spent seven weeks in a family house tracking what would become - and must have felt like at the time - The Eternal Summer. With a self-professed ‘can-do’ attitude, the band converted a home-cinema into a makeshift studio. They made their own soundproofing, gathered the fewest mics they could plausibly get away with, and called it ‘Babylon’. Crowd-funding what they could, skimping on quality was simply not an option here. Saxophonists, trumpeters and cellists were invited over from England; two thirds of the budget was spent on renting a Fender Rhodes: “We didn’t want it to sound ‘garage’ at all - we really pushed ourselves to make it sound professional”, Matt notes. “This links back to the positivity of the whole album. ‘You can do it!’, you know?”

Indeed, the album’s loose narrative thread becomes a metaphor for the album’s very creation. The Eternal Summer is, in a very real sense, the of a band trooping on despite the limitations to produce the brightest, most bedazzling sequence of music they could: “Deep down it harks back to the origin of Sourface, about this one positive energy, really loving what we're doing it and celebrating with the audience” Alex explains.

“It links to our Mediterranean side. It’s always been a part of us, wanting to have sunny, flowery landscapes.” continues Matt, “That’s where the escape comes from. We want to find some paradise land amidst the greyness. So many people approach songwriting as being about what they don't have or can't reach, or what to aspire to. What the hell is the point of that? If it’s not fun, why would you do it? We’re not playing our instruments to cry about it.”