Annick Giroux, once the voice of Cauchemar, channels her unorthodox range into French words that flicker like candlelight on old stone walls. Meanwhile, Nathaniel Hébert, known for his Cronenberg project, conjures vintage gear that hums with the electricity of bygone decades. Sharing an affection for horror flicks and the mechanical hiss of retro technology, their electronic outfit Frissons forges a sound that sparks dance floors and hypnotizes headphone listeners. In each track, they marry romance with dread, elegance with raw desire, summoning a midnight lit by neon illusions.
Frissons formed almost by fate: both musicians discovered each other’s passions for Depeche Mode, Skinny Puppy, Kraftwerk, and cult cinema after Annick relocated from Montreal to a rural village—“frissons” (French for “shivers”) felt like the perfect name to celebrate that fortuitous meeting. Steeped in analogue gear, unorthodox vocals, and dark disco momentum, Frissons invites listeners to escape city lights for a midnight realm of eerie melodies and pulsing beats.
Their Full Moon Nights maxi-single presents four tracks drenched in disco basslines, analogue arpeggiators, and hypnotic grooves. Each song tells a different nocturnal story, from the seductive sway of Bathe Me (In Scented Oils) to the cinematic darkness of Leave the City. Throughout, Annick’s commanding vocals and Nathaniel’s moody production infuse a sense of brooding allure reminiscent of Italo, new beat, and 80s EBM heroes.
Bathe Me (In Scented Oils) unveils a throbbing darkwave drum, where bold declamation and baroque dignity dance in elegant unison. This piece proclaims a stark minimal wave meets cold wave friction, echoing the crisp inspiration of Yazoo and Hard Corps. Giroux’s husky utterance flows through golden, analogue hooks, conjuring a swift, shimmering surge of synthetic allure.
Watch the decadent and retro video for “Bathe Me (In Scented Oils)” below:
Meanwhile, Musc, rendered in French, extends that minimal synth scheme but kindles a cinematic disco glimmer, complete with glacial French phrasing. One senses a distant, old-fashioned flavor as though culled from a treasured Lively Arts collection. Its words recount the exploits of an imagined female killer, slyly luring smitten strangers, capturing their precious scents, and ever craving an absolute aromatic apex. This fierce fixation drives her quest for that ultimate fragrance, forging an arresting saga of desire and danger, stirring the mind like a half-remembered secret from some curious, candlelit corridor. Dark, decadent, and distinct, it lingers.
“French is my first language and Nathaniel’s second,” Giroux explains. “I feel it paints music with mystery and class, but I think the vocal delivery in Musc is what makes this song so icy… that and the dark lyrics.”
Full Moon Nights conjures a slow dusk that drapes the city in French Coldwave and old-school disco flair. It’s a snapshot of Montreal’s nocturnal spirit, a swirl of neon and a certain nostalgic glow. A shimmering vocoder calls the ’80s to mind, reminiscent of Gino Soccio’s Remember in its sly lyric references. There’s also a nod to Valérie Doré’s longing, the sharpened edge of Soft Cell, and the urbane poise of the Pet Shop Boys.
Leave the City stomps forward with a heavier Belgian EBM influence, brimming with coldwave refinement and a striking vocal presence—a finale. Borrowing from David Cronenberg’s affinity for Montreal, it blends found footage from his 1977 film Rabid, layering the eerie news bulletins of a sudden pandemic into the track’s driving beat. This mix of cinematic tension and urgent electronics cements its place as the dark heart of the release, a final push into uncharted territory.
With physical releases – 50 cassettes and 25 lathe-cut vinyl copies – Frissons pays homage to the DIY roots of minimal wave, hand-assembling and printing art with nods to vintage typography and design.
“As a fan, I love owning the physical product,” says Giroux on the choice to release the tracks as a maxi-single. “The cassette, in this case, is like an old-school calling card; a way to experience both the music and the visuals…I’m also really inspired by the DIY spirit of all these eighties minimal wave bands starting with cassette demos and doing everything so homemade, with artistic purpose. We wanted to infuse our releases with the beauty of perfect imperfections.”
Listen to the tracks below:
To bring their immersive world to life, they plan haunting visuals, including projections of classic horror films, at upcoming live performances.
Live Shows:
- April 26th at Place du Marché – Ripon, QC
- May 1st at House of Targ (with Actors) – Ottawa, ON
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