Find out more about Foundling’s beautiful, ethereal new song ‘New Years’. Check out the video below too.


What was the process of making the touching song ‘New Years’ like?

New Years was a really special song for us. I had worked on some of the songs for the album when I was still living in Montreal but New Years was written in Berlin after Marc Stebbing and I met and we started working together in our studio at Warshchower Strasse (in the same building where we had met three floors above). It was a cosy space where we did a lot of experimenting and had great evening recording sessions with Kristina (Koropecki, cellist who played the melodic and the Doppler effect cellos on New Years) and all the others who played on the album. It was the song that really brought the sound of the album together, creating a union that enabled us to experiment and hone what we wanted to produce.


Your band interests on Facebook are listed as “night skies, snowstorms, magic tricks” and this oddly comes across in your mystical, ethereal, beautiful music, but who, or what, was inspiring you at the time you wrote ‘New Years’?

Ha! We haven’t been doing enough magic tricks lately! The song was inspired by the idea of finding someone through dimensions or past lives or different realities that mirrors you so strongly that you feel like the connection has always been there. Like a lost twin. Looking at the impossibility or coincidence or meaning in that and feeling like everything to that moment had aligned for that meeting. A kind of connectedness where you can’t hide your secrets, even the ones you keep from yourself. And night skies of course. Always night skies 😉


You wrote the upcoming album after meeting at a New Years party, does this have any relevance to the song?

Yes completely. It was this very strange night were I had just come back from Canada to my new home in Berlin on new year’s eve. The evening unfolded in a way where I felt like I was drifting through the city in a half dream tired and lost, fireworks exploding all around as I climbed to a rooftop with a 360 view of Berlin, the sky totally light up, the silhouettes of thousands of bodies on the surrounding distant rooftops, faces all turned to the sky. I met someone who would be a very important person in my life and music though I didn’t know it at the time but the night started to unwind like tendrils, all these seemingly unrelated decisions and paths and intersections led right to that place on that night. The dreamy surreal quality and deeply connected outcome of that night is the root of ‘New Years’.



How do you think your different musical backgrounds have affected the group’s overall sound?

Where I really appreciate a quirky and strange delicate raw aesthetic in music, Marc has a more polished pop sensibility and incredible proficiency and skills on many instruments, he can do almost anything on guitar with a kind of virtuosity, but we are both bass players and really met there for the root and depth of the sound. We challenged each other from both sides but we were both very open to the other’s ideas. The album really finds the line of best fit for each song between our tastes and musicianship. Our keyboard player David has this incredible gentle and innovative approach to ambient soundscapes. Kristina and John who did all the albums string parts are from a more classical background with fantastic harmonic ideas. I have a long history of making music together with the two of them and Dan Pencer (who were all Foundlings when i still lived in Montreal) who plays the airy sax on the album and all these elements along with some really innovative analogue electronics from Michal Matlak and the rhythms from Jan Slak and Dylan Wissing really brought together the whole sound picture.


The video sees two Avant Garde dancers (Emilie Morin and Danielle Denichaud) perform to the song, what was the inspiration or meaning behind this wonderful video?

We really wanted the video to express the mirror quality and fracturing of realities and the idea of twins to follow the song’s major themes. I knew Emilie and Danielle from Canada and when Emilie came to Berlin for a dance residency we got together and started to bounce ideas around for a video collaboration. My brother is a video director and lives in Amsterdam so he got onboard for the shooting. We have worked together a lot and he always understands the aesthetic we are going for. We did this incredible shoot at Spree Studios though we lost my brother’s drone camera in a tree (the ‘behind the scenes’ video will be out soon) and Emilie was really great about working with the spaces, her body and ideas really come to life with the energy and inspiration around her. Danielle puts together really soft and controlled choreography and i thought the juxtaposition of the two dancers with me as their mirror/twin would make an interesting contrast. In the end it was (friend and longtime collaborator, additional camera work on New Years) Roger O’Donnell’s idea to re shoot a lot of the footage through the reeded glass which we did with Amy Thomasson (executive producer and additional camera work) really bringing the scenes shot in different places together.


‘New Years’ is the first single from the upcoming Fault Lines, what else can we expect from the new album?

Fault Lines is really about the connections between the earth and our bodies, the things that alined through time to bring us here. I was really feeling the weight of history and was inspired by maps and geology but also the mysterious parallels within our bodies, the lines and scars and veins that make up a different sort of map, and the idea of using the different maps to navigate the surreal spaces of other realities or states and how to find each other there. Musically Fault Lines can be heavy, lots of low bass frequencies and pulses hopefully drawing you into those deep earthy crevices but also has an airy quality, some grooviness and nostalgic elements to let you float on and enjoy!