IN CONVERSATION WITH SOLITARY DANCER
Interview by Samo Šajn
Photography by Tess Roby
Solitary Dancer is a Montreal duo making immersive electronic music. Known for their emotional and textured sound, they have recently composed original scores for Y-3’s Paris runway shows. Their latest project, SDIII, brings together these works in a limited 6×12” vinyl release on Y-3000, with new single ‘Genesis’ marking the next chapter.
How did your collaboration with Y-3 first come together, and what initially connected you to the project?
To be perfectly blunt: luck. We had an internal champion at the brand who had been following our music since the very beginning, and they really believed in us. It still feels surreal that it all came together like this, by pure chance. From there we connected deeply with the team on the vision and inspirations for the project. Everything from music, lighting, movement, and scenography felt so aligned. When you feel that kind of magic, it pulls you right in.
SDIII brings together a body of work created over several years. How do you see this compilation reflecting your evolution as Solitary Dancer?
SDIII really brings us back to the beginning. Before we put out our first dance record in 2016, we had already written and scrapped an entire album that was very experimental. Since then, we’ve always tried to push ourselves to write all sorts of different kinds of music, regardless of trends or cycles. After almost a five-year hiatus, being able to produce experimental music again at this level and in this context feels like a closing of the circle in many ways.
What inspired the sound and mood of these tracks when you first made them?
Every show we’ve scored over the past two years has come with its own world and feeling. Each has involved an array of different people, all of whom are extremely talented and creative in their own ways, so the inspiration really becomes an exercise in synthesizing what we’re all trying to achieve together in crafting a particular vibe.
The release comes as a 6×12” vinyl set limited to 99 copies, with design by Trevor Jackson. What does the physical format add to the project?
From the outset of this collaboration, we knew we wanted to release the music from each season as a series of 12” records. The response to those white labels has been really positive, and we’re glad they’ve found homes in the collections of music and fashion enthusiasts alike. The goal with SDIII was to compile the material into something quite the opposite of a white label: an object that stands on its own as a collection of recordings, but also as a work in itself.
Trevor’s impact on music and design, and his ability to bridge those two worlds, is undeniable. Lifting codes from a brand like Y-3, applying those design sensibilities to a physical recording, and creating something that resonates with anyone who appreciates music, art, or fashion brings an entirely different dimensionality to the project.
‘Crown Shyness’ marked your first new release in five years. What did returning with that track represent for you creatively?
‘Crown Shyness’ was one of the first tracks we wrote for SS25, and it ended up being used for that season’s finale, which was fitting. There’s a kind of understated euphoria to it that we feel defines our sound. Sometimes in the studio you’re desperately searching for answers, and other times you just happen upon them. This was one of those cases where the writing felt like finding our footing again. It was our beacon.
‘Genesis’ is the next single from this project. How would you describe the idea behind the track, and what kind of atmosphere were you aiming to create?
The idea for FW25 was to incorporate a long track that could carry the majority of the show. We wanted to make sure it started low and gradually built energy by exploring a series of different moods without feeling disjointed. The fear is always that tracks like this can feel a bit boring or disconnected after a while, but ‘Genesis’ is a good example of how we like to settle into a vibe and throw in some surprises.
Your music often feels very physical and immersive. Where does that energy come from?
We use a lot of real machines in our process. Most of what you hear in our recordings has been played live, and harnessing that spontaneity is important. When we’re recording, we’re almost always standing up, interacting with the machines, interacting with each other, and dancing. Making electronic music can be a very physical endeavour, so it’s nice to hear that some of that energy has been transmitted to the listener.
How do you want listeners to feel when they hear SDIII for the first time?
The beautiful part about making music is that once it reaches the listener, the creator abandons it to infinite interpretation. Being prescriptive about desired outcomes related to others’ subjective experiences isn’t the goal, but hopefully it makes you feel something, whether positive or negative.
Looking ahead, what are you most excited to explore next with Solitary Dancer?
More scoring work, collaborating on projects with people who come from a wide range of backgrounds, and maybe putting together a new live show. We’ll be doing another season for Y-3 and have an album coming out on NAFF later this year, so it feels exciting to think about what else might grow out of these opportunities.
