Sonars is a new record born out of the collaboration between drummer and composer Tommy Rizzitelli and electronic producer Maxime Dangles. Rizzitelli is a renowned figure on the French jazz and experimental scene, while Dangles is known for his versatility and prolific output in electronic music. Together, they craft an album that feels like a tale of human encounters, wilderness expeditions, and deep sonic exploration.
The opening track, Rimouski, begins with delicate electronics and field recordings that create a dreamy ambient landscape. Gradually, diverse percussion elements enter, pulling the listener in with subtle intensity. When the bass joins halfway through, the track gains a dense, immersive weight. This kind of music always triggers vivid imagery for me – it feels highly imaginative. Here, I found myself high in the mountains once again, remembering the time I got lost in Olympic National Park – a 12-hour hike that felt breathtakingly beautiful yet quietly unsettling, even dangerous. Wandering without a signal as dusk slowly falls, and you’re no longer entirely certain you’ll find your way back home.
Saint Laurent continues in this darker direction. It opens with a shadowy synth line before a heavy beat and bass lock in, creating a thick, nocturnal atmosphere. This time, I’m no longer in the wilderness but in a city at night – driving through a glowing metropolis, observing fragments of life passing by. Around the five-minute mark, the track shifts toward a more synth-driven, almost vaporwave aesthetic, capturing that irresistibly cool cinematic night vibe reminiscent of Drive. A brilliantly escalating piece.
With Iceberg, we return to nature. Field recordings once again set the tone, followed by a hypnotic instrumental motif that grows increasingly distorted and noisy. Midway through, the track breaks open: a gentler melody emerges before the atmosphere turns eerie and unpredictable. It’s playful, unsettling, and structurally clever – eventually circling back to its beginning.
The fourth track, BUG, features Craig Walker of Archive. It opens with an almost industrial edge, evoking a subtle Nine Inch Nails vibe. Walker’s raw yet melodic vocal adds urgency and depth. I love how the arrangement keeps tightening and intensifying. It’s impossible not to think of Archive when Walker starts singing – it instantly takes me back to seeing Archive live about ten years ago, still one of the most powerful and intense concert experiences I’ve ever had. The dynamic drop in the second half, before the final explosion, is masterfully executed. The closing screamed vocal even evokes hints of Brian Molko in its emotional charge.
At the album’s midpoint lies Sternic Master, perhaps the most cosmic piece on the record. It flows into the unconventional Catastrophe, built on a repetitive intro leaning toward dense electro or techno. The word “catastrophe” will definitely lodge itself in your mind. It may divide listeners, but within the album’s arc, it works – and I found it compelling.
The final trio of tracks begins with Reef, featuring Aur on vocals. The performance is sensual and captivating — the French language enhances its intimacy. At just three and a half minutes, it’s shorter than most tracks and perhaps the most immediate potential standout. Atmospheric and rhythmically tight, the second half is a personal highlight of the entire record.
The collaborations continue: Oxmo Puccino steps in with a grittier, almost spoken-word rap delivery that contrasts beautifully with the preceding sensuality, adding sharpness. The closing track sees Craig Walker return, channeling a mood somewhere between Depeche Mode and Moderat.
Sonars is a cinematic, immersive album balancing wilderness ambience and nocturnal urban tension. Rizzitelli and Dangles blend experimental electronics, organic textures, and strong guest performances into a cohesive, imaginative journey.
This album was discovered via Submit Hub.
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