Larsovitch was born in the artistic factory Friche Mimi in Montpellier at the end of 2020. The premise was quite simple: to compose dark yet danceable music, using old machines while doing away with computers. Now, Larsovitch surges forward with Normal’No, a brand new EP, melding minimal wave’s mechanized chill with Eastern post-punk’s wistful wanderings, serving a sonic séance, favouring a raw communion of circuitry, guitars singing languid litanies, and voices slipping fluidly through linguistic divides. Songs build slowly from melancholy murmurs toward punk’s primal pulse, each track a bitter-sweet caress of melodic fatalism.
Normal’No arrives scarcely a year after ΣΥΝΘ, dragging with it the corroded chains of post-punk and the blank stare of sovietwave, laced with the caustic wit of Devo and glitchy spasms of early ’90s game consoles. It doesn’t soothe—it seethes. A rally for the outcast, a sermon for the fractured, a danse macabre on the fault lines of disillusion.
The opening track, Légions Perdues, claws through inner collapse with lo-fi retro cassette synths, crafting a score for an icy fever dream where bodies fracture, blood blooms darkly, and memories twist in flame. Here, even love limps forward, wrapped in deformity; beauty emerges bruised, broken, and yet stubbornly alive.
With the melodic, guitar-driven Bonne Nuit, the EP pivots entirely, delivering a gripping slice of post-punk melancholia shaped by echoes of Kino and Sudno. “When I composed Bonne Nuit, I wanted to make a ballad a bit like the title Спокойная ночь (Good Night) by Kino,” Larsovitch explains.
“Well, I didn’t succeed, but I kept the title anyway. I then turned to Sudno, a contemporary Ukrainian artist, to try and find that essentiality in the guitar’s composition and the fragility of the sound”. That fragility is palpable. Sleep here shatters under gunfire, comrades stagger blindly through history’s dust, abandoned amid ruins where regret is the only thing left breathing. Statues crumble dryly; time curls inward and recedes. A final whisper closes the record—soft, resolute, and achingly uncertain: good night… if tomorrow even bothers to come.
Obossrannyi Gueroï—a brutal reinterpretation of the Russian post-punk band Свидетельство о смерти (Death Certificate)’s original—is a searing embodiment of Eastern synth-pop, transporting listeners to a militarized dystopia through its buzzing beats, pulsing rhythms, and fervent vocals. Larsovitch’s rendition delves into the descent of a deluded soldier, intoxicated by nationalist fantasies, disfigured by betrayal, and condemned by complicity. The track paints a grotesque theater of war, where burned homes, maimed civilians, and political deception converge, leaving the so-called hero stripped of purpose and pride, rotting in the ruins he once vowed to defend.
In his interview with VerdamMnis Magazine, Larsovitch explains that the song, whose title translates to “Shitty Hero,” denounces the absurdity of war, political manipulation, and the blindness of individuals to the destruction around them. Originally written in the late ’90s, the track’s themes remain hauntingly relevant today.
Kryos Aeras walks a blade’s edge—its sound caught between cold minimalist synthpop, the twitch and throb of EBM, and post-punk guitar riffs that cut like an icestorm against skin. Sung in Greek, its verses unfold like incantations, detailing dismembered bodies and stitched limbs with the reverence of a mortician preserving what the world has already discarded. Violence hums beneath the surface like ritual, steady and sacred, while death moves quietly through the bloodstream—chill as wind, certain as nightfall.
The title track, Normal’No, moves with a buoyant, irreverent bounce—a DEVO-esque synth playfulness colliding with the brash charm of French mavericks like Partenaire Particulier. But beneath the neon gloss, the gears shift, revealing something far more unsettling. Lyrically, it conjures bureaucratic dread disguised as calm, delivered in cool-toned French and Russian. A detached voice purrs orders—stay still, don’t fear, all is fine—even as the body tightens and the mind begins to splinter. This isn’t comfort. It’s control, wrapped in synthetic cheer.
The final track, Xenomorfos, is an anti-fascist manifesto—less a protest song than a rallying cry from the wreckage, a post-collapse bulletin scrawled in static and fury. Built on minimal synth bravado that channels 8-bit nostalgia and contemporary club muscle, its subtly digitized vocals snarl at the machinery of nationalism and automated xenophobia. With bile and blunt force, it reduces patriotism to a malfunctioning loop—identity forged in steel and fear, flags hoisted not in pride but as warnings. The song curses xenophobia and our helplessness in the face of rising fascism. And though its multilingual lyrics leave room for misreading or reinterpretation, the urgency is unmistakable: these are posthumous reports from the frontlines of cultural decay.
Normal’No is out now via Stanze Fredde on CD and Conical Records on limited cassette tape. Listen below and order the album here.
The first EP, ΣΥΝΘ, was released in spring 2023, then reissued in 2024 with the labels Conicle Records and Ascèse Records. This was followed by two European tours alongside bands such as Blind Delon, Sydney Valette, Night in Athens, and Dramachine.
Tour 2025 Dates & Locations:
- 16 April – Amsterdam, Netherlands (Villa Kamal)
- 17 April – Rotterdam, Netherlands (Poortgebouw)
- 19 April – Paris, France (Alimentation Générale)
- 20 April – Lyon, France (La Pente)
- 23 April – Marseille, France (Leda Atomica)
- 26 April – Modena, Italy (Ghosts in the Trees Festival)
- 02 May – Thessaloniki, Greece (Giapi Bar)
- 03 May – Ioannina, Greece (Fahrenheit 451)
- 24 May – Saint-Étienne, France (La Boom du Printemps)
- 21 June – Milan, Italy (Rock n Roll Club Rho)
- 28 June – Alès, France (Urban Park)
Note: More dates to be announced.
Follow LARSOVITCH:
Or via: