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International Festival of Digital Creativity and Electronic Music

" Domenique Dumont’s embrace of a time-out-of-time nostalgia, and their affective summoning of humid summer beaches escapes easy categorization. Building from a foundation of buoyant samba, bossa nova undertones, and French pop delivered with a wink, the Latvian duo’s project is a heartfelt modernization of breezy dreaminess so central to the Balearic Beat.

Initially appearing on the scene shrouded in mystery, Arturs Liepins and Anete Stuce are at the heart of Domenique Dumont, working in conjunction with a French collaborator who may or may not exist. With only a handful of tweets to their name and scant interviews on the books, the duo let their 2015 debut "Comme Ça", speak for them—using a dubby mix of marimba-laden synth pop and ambient electronics that dart between melancholic and carefree. Following critical reception that garnered the need for 3 represses, Liepins and Stuce provided lush remixes of Mark Barrott, a slap-bass heavy contribution to home label Antinote’s Five Years of Loving Notes compilation and to the Errata cassette, a compilation for Swedish magazine Timglaset celebrating forgotten demos and accidental recordings. Gaining critical praise from Resident Advisor, Pitchfork, and even by one of the fictional members of Gorillaz, Dominique Dumont's work is hailed as "transcending the boundaries of language, instrumentation and convention" with their intricate, amiable sounds.

Embodying what Montréal’s late August humid summer nights were made for, Domenique Dumont promise a soaring performance bursting with blissful balearic signifiers. Whether you experienced beachside Ibiza sunrises in the early 90's or not, the duo's catchy compositions will make you feel like you're right there."

Style

Dreamy French pop variations, cosmic bossa nova and cha-cha, winkingly soundtracked by vintage electronic organs and thrift-store Casio keyboards

Labels

Antinote

Latest

Miniatures Of Auto Rhythm (2018)

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The first Domenique Dumont tracks were put online 'for laughs' before being picked up by renowned digger Quentin Vandewalle's label