In their own words:

Things.

We listen to music to understand what we do, and we do music to understand what we listen to. We record everything at home, in a mansard to be more precise. The “home-made” policy corresponds to a definite aesthetics, particularly with regard to a pop range. It’s like a scene from a thriller movie where, at the very crucial moment, there’s a shot of the director and his assistants while setting up the play set. So yes, we do make pop, but with the unpretentious intention to thrill. Our band is made up by two components, not merged in a unique identity, but rather coexisting. Sticking to the common sense of the word, we never really felt like a group. With its naivety and brutality, M+A plainly represents our initials just to make the whole thing more tangible and real. It’s two people moving forward parallel one another, though with countless meeting points.

Things.

There is no real language, it’s unnecessary for what we’re trying to do. At the moment, stories don’t appeal to us. We look for coolness without those usual subterfuges of meaning or mysterious words. We don’t want to say anything nor teach it. We only want to leave something where anyone can feel or imagine what he wants. And use it as deemed most convenient. This way “the song event” becomes completely collective. Who listens is not only important, but essential. We provide forms, and who listens creates contents. The song doesn’t end with us, and becomes itself a base of departure and not of arrival. It’s so funny to make a fool of the person who listens, just through what is acknowledged as the universal language, English exactly. We’re so used to hearing words that we can’t even listen to them. It could be also read as a criticism in action of the “ear spectator”. However, the interesting thing about it is to make use only of the “sounds” of a language, and then observe how the listener combines them into actual forms. Therefore it appears, if not a comprehension, an inclination to grasp how on the one hand it frees the listener from us, but on the other hand it makes him come closer. Taking a step backwards to move closer to the others.

Things.

Our look at the graphics can’t be pushed into the background if compared to music. The packaging is not a simple container, but a content. Just because our work comes along both in a vertical and horizontal way, music can’t be considered as a point of arrival, but of departure. Those several “fragments of things” are present here just as they are in the songs. Are we multiplying what we can’t get together? It might be. Though, in this case, it’s taken for granted that unity is the point of arrival.

Things.

LE JEUNE ÈSPRIT

We said there are no points of arrival. As for now, that’s how it is. We’re like gold diggers who love the bed of the river before the gold itself. And we enjoy this “young” possibility. In short, we aim to live rather than last, to deplete the field of possibility.

Yes.