Lost And Sound
Lost and Sound is a podcast exploring the most exciting and innovative voices in underground, electronic, and leftfield music worldwide. Hosted by Berlin-based writer Paul Hanford, each episode features in-depth, free-flowing conversations with artists, producers, and pioneers who push music forward in their own unique way.
From legendary innovators to emerging mavericks, Paul dives into the intersection of music, creativity, and life, uncovering deep insights into the artistic process. His relaxed, open-ended approach allows guests to express themselves fully, offering an intimate perspective on the minds shaping contemporary sound.
Originally launched with support from Arts Council England, Lost and Sound has featured groundbreaking artists including Suzanne Ciani, Peaches, Laurent Garnier, Chilly Gonzales, Sleaford Mods, Nightmares On Wax, Graham Coxon, Saint Etienne, Ellen Allien, A Guy Called Gerald, Jean Michel Jarre, Liars, Blixa Bargeld, Hania Rani, Roman Flügel, Róisín Murphy, Jim O’Rourke, Yann Tiersen, Thurston Moore, Lias Saoudi (Fat White Family), Caterina Barbieri, Rudy Tambala (A.R. Kane), more eaze, Tesfa Williams, Slikback, NikNak, and Alva Noto.
Paul Hanford is a writer, broadcaster, and storyteller whose work bridges music, culture, and human connection. His debut book, Coming to Berlin, is available in all good bookshops.
Lost and Sound is for listeners passionate about electronic music, experimental sound, and the people redefining what music can be.
Lost And Sound
rRoxymore
How do you make an album through personal upheaval? I spoke with rRoxymore about the process of making her third album "Juggling Dualities" – a work born from the ashes of emotional upheaval and creative block. When we sat down together, the genre-blurring producer opened up with remarkable candour about finding her way back to music through surrender rather than force.
"I couldn't produce any track of music that was satisfying for my standards," rRoxymore aka Hermione Frank confessed, describing the frustration that preceded her creative breakthrough. The turning point came when she abandoned expectations entirely – no planned album, no pressure to deliver a product, just pure exploration. What emerged was something she considers her most honest work, created in a surprisingly short timeframe with an authenticity that surprised even herself.
The conversation ventured beyond the album into rRoxymore‘s journey as an artist – from her early days in France feeling constrained by rigid genre expectations, to finding freedom in Berlin's electronic music scene, to her recent move to a smaller city where she's embracing a slower rhythm of life. Throughout it all, she's maintained a fluid relationship with genre, using it as "a reference point that you'll avoid to go to" rather than a rigid framework to follow.
Perhaps most striking was her deliberate disconnection from digital noise during this period of creation. "I deleted all the socials for a while," she shared, emphasizing the importance of asking fundamental questions: "What do I want? Who am I?" This return to essentials allowed her to follow her natural rhythm – a practice she describes as "maybe financially not as rewarding, but it's so satisfying."
Listen to rRoxymore’s music:
Bandcamp Artist Page – rRoxymore
Listen to Juggling Dualities (pre-order available):
Follow rRoxymore on Instagram:
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Want to go deeper? Grab a copy of my book Coming To Berlin, a journey through the city’s creative underground, via Velocity Press.
And if you’re curious about Cold War-era subversion, check out my BBC documentary The Man Who Smuggled Punk Rock Across The Berlin Wall on the BBC World Service.
You can also follow me on Instagram at @paulhanford for behind-the-scenes bits, guest updates, and whatever else is bubbling up.
okay. So how do you make music after going through a personal upheaval? This is something, but my guest on the show today went through before coming out with her boldest work today. You're about to hear a conversation in a minute with the dj and producer rRoxymore. Hey, it's paul here.
Speaker 1:Welcome back to lost and sound, the podcast that goes behind the scenes, with people shaping music culture from the underground up. But before we get going, lost in Sound is sponsored by Audio-Technica, the global but family-run company that make headphones, microphones, turntables, cartridges, studio-quality yet affordable products, because they believe that high-quality audio should be accessible to all. So, wherever you are in the world, head on over to AudioTechnicacom to check out all of their range of stuff. Okay, let's do the show. Thank you, hello and welcome to episode 174 of Lost in Sound. I'm Paul Hanford, I'm your host, I'm an author, a broadcaster and a lecturer, and Lost in Sound is the podcast where, each week, I have a conversation with an artist who works outside the box about music, creativity and about how they're navigating life through their art. So, whether you're new here or you've been listening for a while, it's good to have you along. I hope, whatever you're doing today, you're having a really good one.
Speaker 1:I'm talking to you from a bench alongside a park in Berlin and it's a Monday morning, it's the Monday after Glastonbury Festival, and I'm sure, like many of you seeing clips of festival on my phone over the last couple of days, particularly the clips of Bob Villan, of Kneecap, of Fontaine's DC, of CMAP, and feeling I feel this feeling this morning, of feeling, I guess, emboldened in artists expressing outrage, expressing the truth, expressing their feelings about genocide, about horrors in the world right now, and obviously this is something that the establishment are really, really angry at. And what really confirms in my mind is that music still has a power to represent anti-establishment values, to represent to say fuck it to the man. Remember, after all, woody guffrey had this machine kills fascists written on his guitar um, this is part of what music can do. This is what culture and music are supposed to do is to represent the truth, to to not give a shit about what the establishment thinks, but to to say their truth. And so that's just my thoughts on that, and that's not something that we're really going to go into with the conversation you're about to hear today. But it's a Monday morning and Glastonbury has happened and we're all talking about it and this is what I'm feeling right now.
Speaker 1:But today on the show I spoke with rRoxymore, the French-born, up until recently Berlin-based producer and DJ, hermione Frank. I apologise about my pronunciation. I'm so sorry. I'm just a crap English person. That's a rubbish excuse, I know. I hope I got the pronunciation okay. Really enjoyed this chat Really. Really. RRoxymore, super nice person and such a refreshing and open kind of chat that she gave for this.
Speaker 1:So rRoxymore has really established a sound over the last few years that folds together Detroit, techno, cosmiche, dub, exploratory electronics, and she's released music on labels like don't be afraid and k7. She played everywhere, from bergheim to de school, to fabric, to unsound, and her new album, which is the reason we have this conversation today, is her third album. Juggling dualities, which is out a little bit later this month, marks a shift in her approach. It's written after a period of emotional upheaval and this is a big part of where our conversation that we had stems from. So we talked about this, the process behind the album, about creative block, about switching off devices, about coming out with work which I think is her best work to date through a period of uncertainty, and we also talk about, initially, how she found her creative voice, um, about berlin, which, up until recently, was her home for many years and is a home in which she developed her creative identity and her sounds, um, her approach to djing, all sorts of things.
Speaker 1:But before we get going, if you like the show and you haven't already, please do give it a subscribe. Give the show a rating and a review on the platform of your choice. Really, really, really, really, really does help and I appreciate every review and rating it and every listen and really really does help, um, but anyway, so we had this conversation, me and roxy moore, on wednesday, june the 11th 2025, and this is what happened. Well, thanks so much for joining me today. How, how are you doing? The album has been announced. I've listened to it. It's fantastic. Do you feel geared up and ready for it, for the stage of it being out into the world?
Speaker 2:week, if I'm not mistaking, and we still have a bit of time because it will be released a bit later in july. But, yes, I'm very excited to see how it's going to be perceived, um. So, yes, yes, and also I'm excited to I will have to play it live at some point, so I also have to start to focus on this as well.
Speaker 1:So, yes, new things and that's quite interesting because I've heard you say in the past that you initially started out wanting to focus more like on live performance than on on recording with, with doing the album and the way I think a lot of electronic musicians approach making albums is very much like a lot of time spent in the studio, wherever that is, and then it materializes into something live. Do you feel like you have to work out the album in a different way to do it live?
Speaker 2:yes, I think so, because when I wrote this album I didn't really think about the live aspect of it. Uh, because I was not sure if I wanted to play it live, but I guess there would be some interest. So now I have to consider about this. So I have to, I have to find a way that is um, I don't know yet how I want to revisit it, or if I want to be very close to how you see, listen, you hear on the record, because with electronic music is always um, you know, either you reproduce what you hear, like more in a way, it's much more in one hand, it's very restrictive but also very open compared to pop music or jazz or whatever, where it's like instrumental. You're going to play like this, how it is, you know.
Speaker 2:It's more straightforward in the other fields, but in electronic music it's one way or the other, I would say. So I have to decide which, which paths, which path I want to use when I want to take do you feel that that's something that you will decide once you start getting going on it?
Speaker 2:yeah, yeah, for sure, yeah, yeah, totally, because I will see what's you know you have also to have. You have to think about all the technical aspect, because also what you want to bring onto what kind of machines and and sometimes you don't want to bring only a computer you will have. So it's all these kinds of aspects, and as a you're a one person band, you have to so be strategic with that as well. So it's all this coming together, yeah.
Speaker 1:Yeah, I mean the album is is fantastic and I feel like I mean you've said that you started out imagining it as a kind of new age project and it sort of grew out of that. But like I was wondering if you could tell us a little bit about, like, what drew you initially to that kind of space well, I don't know really.
Speaker 2:I mean, I guess well, what you I guess you saw you read that in a in kit. But yes, I wasn't really on the best. I wasn't going through a difficult, rough patch in my life and you know so, when you start to age a little bit, you start to put your life in perspective and then you go more in these kind of healing moments in your life. You know you start to be like, okay, I have to let go of some things and stuff. And I was like I'm not going to do an ambient album, I don't want to go in this.
Speaker 2:Also still going in this, I will say dance floor adjacent music, and I thought the new age part would be a more interesting way to apprehend it. But of course it's not that anymore. But uh, but yeah, it was more way to you know, sometimes you need a little door to get into a certain place. So I thought this was the the easiest approach to go to to have my um inspiration going through. So I thought if I go, if I could try exploring these things like a new age, let's see where it leads me.
Speaker 1:That's it yeah, right, because I like.
Speaker 2:To explore genres. In a way, you know, I like to do these different things. Some people say I will reinvent myself, but I don't think so. I just want. I like to explore different genres. And so this time was new age, but it's not new age, but this is what was the beginning.
Speaker 1:I, I see what you mean. Yeah, yeah, I feel like. I mean I feel like throughout your, your released work there is this sort of playfulness about like avoiding kind of rigid genre definitions, like it's quite often you get kind of lumped in not lumped in, but like know, like roughly lumped in as like a techno artist, and maybe that's the Berlin connection, maybe that is the proximity of electronic music to techno, but it feels very, very sort of like you know, yeah, I can hear it in there, but it doesn't. It feels like, like you say, like a door that opens up, like a further world of possibilities. Like, do you feel the um, do you find genre useful thing, or do you feel like it's more like a constraint that you work against?
Speaker 2:yes, I think it's more that the second later for sure it's like a reference point that will avoid to go to.
Speaker 2:I will say yeah, so it's like you're aware of it, but yes it's not like something to be rigidly adhered to absolutely, because at the end of the day, I won't be able anywhere to go to that point. I'm aware that I can't really. Uh, I've tried in the past. Oh, I want to like to do these genres, but I cannot do it, so I have to be so. It's not something I play against you, but so I think. But at the same time, it's important to have it as a reference point yeah, right, that does make a lot of sense.
Speaker 1:Yeah, and um, I was wondering you mentioned a little bit then and I was wondering if it was okay to ask you a few questions about the conditions for that you went into for making juggling dualities, um, like, I mean, this is going into what the press release says as well, but, um, you would talk. It says in the press release you were talking about going through a period of um upheaval and a subsequent creative block, um, and I was wondering what the situation for you was like at the time. Like you know, because I think quite often when we're in these states, we the last thing we really want to do is think about, like maybe we want to be creative but we don't want to necessarily think about like making something that ends up being a product. You know, like, what was your situation and what was your way through that yes, I was not really.
Speaker 2:That's why I wanted to be totally free of the result result. So I didn't. Um, I was not playing to produce or to write an album, to write an album per se, for sure. So it was just a a very uh, an exploratory moment and I said okay, because, yes, I couldn't. I was very, very frustrated for many months to not be able to produce any track of music that was uh, satisfying for my standards and even though it was like not able to be whatever.
Speaker 2:So when I managed to have this to catch that thread of inspiration and I was like, okay, I can go through and follow this, this path, and, uh, but I didn't want to expect to do, oh, it's gonna be, I'm gonna do the album. You know, it was just really, but at the end of the day it was very quick, though, and all this track there's not so many tracks, it's maybe eight, I think, and even though I would have tried if I was thinking is that enough? Should I expand? Should I add more tracks? I couldn't do more in that in that context also. So it was most of them were really made on the go, like, really, maybe few. A couple of them took me a bit longer to wrap that up in a production part and the most of them, the main idea, was there from the go, from the start.
Speaker 2:So, but it was really in a short period I was saying a couple of months, let's say but there was not really. Yeah, there was not a okay, I want to have a project. At the end, it was just it needed to be really liberating and that's why I said it's really, um, that's why it says also the most honest work. In a way, there's no, no, uh, yeah, there's no end goal really at the end. I mean, the end goal is for me to be satisfied about the work and also it's also sounds corny, but it's really also a healing work as well so it's all together, yeah yeah, no, I, I definitely.
Speaker 1:I mean it's funny that we have to sort of sometimes pre-phase things with like it sounds corny to say, but I think like the whole creative process is so often like can be a healing process, and it feels like there's a lot like particularly like some of the song titles on the album. It feels like there is this sort of dialogue with, with like a process of healing, um, and I was wondering, like when you look back on it now, like how did that manifest for you the, the, the healing?
Speaker 2:well, it was really kind of immediate. It was say, like, usually I don't listen to my work afterwards, I don't. It takes me a while to revisit my work. I was like, okay, when I finished an EP, an album, I was like, okay, this, I'm sick of it, I'm done with it, I can't listen to this for a while and I put it on the side. But this one I was listening to the tracks over and over, like even in the process of working on it.
Speaker 2:So I was really there's a lot a pride in it, like, but in like in an accomplishment side of it. No, like, no, you know like really, um, honest accomplishment. You know, when you're really proud of your, of your thing, that's all like on a genuine level. So that's, that's what's the healing part of it. Okay, I managed to do this and yeah, and I, it helps me and I like to listen to it. I like to. So when you is the same. I had the same experience as when I listen to an album I just cherish for a while. I'm like, oh, I'm gonna listen to this for a couple of in the loop, for a couple of days. So I had that experience with my own work and usually I don't have that, so it was really um very, very such a lovely moment for myself, yeah right, yeah, so like you were able to appreciate it as music yes, and on the moment as well, you know, and not like six months later or 10 years later, I can, I can revisit my first album.
Speaker 2:Now I'm like, oh, I am even surprised by myself, like, oh, I didn't know, I don't know if I could do it again, this, but I it takes me many months or years to actually appreciate, but this was really more instant and this is such a nice, it's such a nice feeling to be really aligned with your thoughts and inspiration and the result of it in the moment. It's such a very rewarding feeling.
Speaker 1:I it's very rare as well. Like, I mean, when I do writing, uh, and when I used to make music, I would always find that I'd get stuff to a place where I'd be really happy with. But I'd be continually like adjusting certain things and then listening back again in different, different headphones and going oh no, no, that filter is just too, you know, and to sort of create something where you think actually it's all in the right place, that's, that's kind of very rare thing yeah, totally, and I'm I'm so grateful to be, to have being able to experience that and, to be honest, I don't know if I will be able to experience later again.
Speaker 2:Uh, I will see if I will be able to experience when I play live, because there's going to be another big experience. But to being able to have that, to have been through the experience of producing and enjoying at the same time, is very, very special. It's very unique. You're right, because, yeah, especially in electronic music, we spend hours of like okay, I'm not really happy about that bit and I can't change this and this, and it can take forever because, of course, work is never ending but, this is what's just ready that's fantastic and also again, it might be the press release mentions as well that you um spent some time disconnecting from like day-to-day stuff like the social media, from like a lot of being online.
Speaker 1:Was that a very deliberate thing as well, to focus you for whatever reason, or or, um, what? What was your? You know? I mean, I mean, I guess, like you know, your reasons for that are very, very personal. I don't want to really pry too much into that, but, like, what did you find from that experience? I guess?
Speaker 2:To get disconnected from the social media?
Speaker 1:Yeah, because it's something that you know. I say that I do, and then I realize I've turned off my phone for three hours and then it's back on again.
Speaker 2:Well, yes, I mean, my phone was on, for sure, but I deleted all the socials for a while and I tried to do it as well. Unfortunately, I have to do it again at the moment because I have to promote the album and stuff like this. But sometimes it's just like but I'm not only one. I think all of us, we're all of us going through this moment right now. I think we're all sick of it for many different reasons.
Speaker 2:I think it's just good to be able to connect with yourself, to be like to connect with yourself, to be like, okay, what do I want? Who do I, who am I? What I'm looking for? Just the basic and questions and answers. It's just very, um, yeah, going to meditation and all this kind of and again, it sounds corny, but it's just like it's what? Uh, the basic things that I think humans, uh, have to go through at one point, like, okay, going to the strict part of life. Like, okay, searching yourself, it's a bit soul searching but like, okay, what do I need? And just need to be in contact with some friends few friends are actually giving me good things, just good energy and that's it. And going to the essential things of life. What makes you happy, or giving you good or feeding you in the basic ways, that's it. And and going to the essential things of life, what makes you happy, or giving you good or feeding you in the basic ways?
Speaker 1:that's it that's it it's what you need at the end yeah, I mean, I think, I mean I, I agree, I think it's it's easier said than done as well, like I feel like we often have to give ourselves permission to do that, like not answering emails, can feel. There are times in our lives, I think, where it can feel naughty to not answer emails, you know, and it's, it's kind of crazy. It's like we have like more of a loyalty to the technology than we do to what we're actually crying out for yeah, yeah, totally.
Speaker 2:I mean I mean with us. It took us a while to set up this appointment and I'm sorry, like it took me some time. Sometimes it takes me now I just even I read the mail, I just take some. I just want to be to answer when is the right moment for me. And it's so selfish, but it is, and it's like, yeah, it will take maybe a week or sorry, or a few days, but I will get back to that person. It's not to be rude, it's just sometimes you just don't want, you just it's really.
Speaker 2:Also, the thing is like now I live in a very small, smaller city, so I my rhythm and it's very way more slow and I'm not. I don't have to go out there and be. I force myself to be like socializing and things, even though I should be, but for, but also, it's just, it's good to be able to follow your own rhythm and it's when you follow. It is such a nice feeling with how you can deal with day-to-day life. You know like, okay, this is my rhythm, it is what it is. I'm sorry it's not the same as the others, but uh, at least I'm of those I don't feel frustrated or depressed because, or anxious mostly, actually to run after that wheel of answering or posting whatever you trigger every day to do, you know. So this following your rhythm thing is maybe financially not as rewarding, but it's so satisfying really and it's just, it's not even more beyond than satisfying, it's just wow, it's just relaxing that's it.
Speaker 1:It's really nicely put. Thanks for saying about that and, um, yeah, like so you're, um, you've left berlin now. You were living in Berlin for many years and now you've left it and there's obviously a very different tempo of life where you're at in the moment. Are there things about Berlin that you feel that you miss the most, or that you you do miss?
Speaker 2:well, obviously, my friends.
Speaker 2:It's mostly that, even though a lot of my friends have moved out as well, but yes, I guess it's the company of some friends that I miss more. And even though berlin is not the most stressful city to live on in, you know, you definitely can find your own path in that city and have and keep your own rhythm, but still you always have this kind of things like, oh, let's go here and then, and so, um, but uh, yeah, I mean definitely, I used to live in paris before, so it's the same situation, like I miss the friends, but at the end of the day, um, you can find ways to spend time with your friends. When you decide to, you know, you go and visit them. It's also never another way. You don't consume friendship in the same way as well. I think it's also if you start to put more intentional um idea, moments of like, okay, I'm gonna um action behind of spending time with your friends or people you care about. It's different as well, and not okay, they're there, maybe I'm gonna spend time or not.
Speaker 1:You know, it's just um, it's so important it's different and I think it's about being at a different age, like, I think, when you're in your 20s, when we're all, like in our early 20s, we have like a big group of friends, quite often that we're, we know, we're hanging around with and like life hasn't pulled us all over the planet, and then you know, like those really really good friends, you know, you know you do, like you say, you do find ways to stay in touch and but that's just. That's just the sort of different stages of life as well, isn't it? Yeah, and I mean, I want to sort of dig a little bit into, like the early parts of your life and what led you to where you are now in a way, in a way and like so was that like a specific moment early on in life where you felt music really resonated with you to begin with?
Speaker 2:oh, yes, definitely. Um, the thing is, when I started to do music on a professional level was everything was kind of an accident. I will say, um, in one way, when I was younger, like my late um, teenage time, I got, yeah, I was into this rave movement. I was going out on often on weekends and stuff and I got obsessed with, I had, I felt I had this calling with turntables playing, being djing and all this kind of thing. So I I I follow that path, but to become to be able to make a living. You know that I never thought about this at all and I met some people where, like, they invited me to do more, to to do some electronics in their band and this was everything was just an accident. I was like, oh, why not, I'm gonna do this. And also, um, I had a partner at that time who introduced me to production and he was much more in hip hop and stuff, but it was more. It was also interesting to to to learn through his knowledge. But I did. It was still not mine, you know. And at one point where we got separated on all this crash because we we did a lot of music together. We got separated on all this crash because we did a lot of music together. We kind of grew up together in the production part and learned how to do music together and learned different types of music together.
Speaker 2:But when this was gone, I was like, is it still me? I needed that. So it took me maybe a year or two to actually be able to reclaim that. So, yes, I had this calling again as well. Okay, actually, I want to do music and I want to take it seriously. I have to do my own project. That's how Roximo started at the beginning and it was okay, it was a challenge. But I with myself, can I do it? Can I do it, really do? Uh, you know. So there's this imposter syndrome Can I have the guts to do? And I wanted to do only live music at that time, which was more at the end it didn't come through the way I wanted to do, but, yeah, at the end I didn't want to release music, I just wanted to play live. But yes, I followed another path because it is what it is. But yes, I needed to have that for myself yes, yeah, yeah, definitely.
Speaker 1:And was this still in Paris at the time? Yeah, yeah yeah, yeah, and like, what was the scene like at the time? You mentioned a little bit about like the, the rave scene, and you know you were like the scene was more well, I'm here in Montpellier, yeah.
Speaker 2:Then I moved to Paris eventually and, yes, moving to Paris, yeah, I could not really. Also, I couldn't really follow, I mean, with my partner where we were doing all this music, but I, outside of that, I didn't really see any connection I could. I was not playing, I was touring with these bands but, like on a personal level, I didn't see anything that was um, could mirror my, my taste or in music, but not really. So at one point, yeah, moving to Berlin was the kind of the good option to be able to explore my musical tastes and also quests and they, I think somehow, yeah, what I wanted to do, what genres or what you know.
Speaker 1:Yeah, and did you have like an idea, cause I guess Berlin is still kind of associated as this like electronic music sort of mecca, did you? Was there like a calling to Berlin because of that reason, or was that something that more like happened when you were here for you?
Speaker 2:I guess a bit a bit of both. I I mean, I was a new in paris. Nothing will happen for me. I felt there was no space for because I never wanted to be in a special genres and in paris, in france, is pretty labeled, you have to be in really some boxes, and I was not really have that. I could not find the space really. I could not find any people I could connect really somehow and I didn't know much people in Berlin. But I felt there was maybe more freedom because, yeah, as you said, it's a maker of electronic music but also I think it's very I discovered that later but it's really in the DNA of the city Like people breathe and eat and sleep electronic music for the good and the bad. But I feel like there's much more space for explore what genre you want to do. And, yeah, berlin was a good space for me, the good spot, the good, yeah, good place for me at that time.
Speaker 1:Yeah, and you mentioned a little bit about imposter syndrome as well, and I think that's a something for a lot of artists face and not even just like necessarily at the beginning of their careers, but like it kind of comes back again from time to time. I think, and I think quite often that's connected to like seeing opportunities and like seeing like ways of recognition and like I don't mean like fame recognition, but like validification from from other people. And, and I was wondering for you, were there any like real key points where you felt, um, enabled, I guess, like when you were becoming Roxy Moore, feeling good and recognizing what you were doing and and your sonic identity?
Speaker 2:you mean, if I, when I kind of uh, let go this impulse yeah, that's right yeah yes, I mean yes, I mean um, definitely, I have passed by, passed by that point now and it's really. But I cannot, I cannot really explain how this can. How is the switch? I will say, I guess, at one point you just I don't know, just at one point you just accept how it is like, although so, um, I guess maybe it comes after the second album. Oh, no, not even before that, I don't really know. I think it's maybe after the EP, thoughts of introvert, this.
Speaker 2:I had a lot of people, I mean like a lot of people, commenting about this, and I was like, actually, I think it's a lot of things coming together and it is, and you're like, okay, I'm here and there's no way back from that point. You know, yeah, of course I can have some insecurities with other levels, but they, I'm happy where I am and I don't, I'm happy, you know, I don't, I don't doubt about where I am, you know, so on as an artist. So, but I think it's a slow progress, a slow process, um, between, yeah, this question, or about validation, validating from your peers, but also yourself. Yeah, when you have these two are coming at the same level, yeah, but I cannot really tell you when, or you know, I guess it's maybe after some releases. I can yeah.
Speaker 1:Yeah, so it wasn't like there wasn't like a kind of a eureka moment or like a kind of a sort of ta-da Ta-da.
Speaker 2:So yeah, it is here, it is Okay, Lovely, it's a newsletter, finally, totally Before or after.
Speaker 1:Here it is here it is finally, yeah, totally before, after. Uh, yeah, I mean, and, um, when you got to berlin as well, um, but there was like the collaborating's were planning to rock, and um, that I mean, um, how did that have like an impact on you? You know, like what did that? Did that change certain things for yourself as well?
Speaker 2:the collaboration with planning yeah yeah, for sure, 100 percent.
Speaker 2:Uh, because, uh, they really introduced me in their world right away because I was, um, they needed someone to tour with them back then and we didn't know each other that much and it was very generous from them to involve me in their world. And yes, I mean through them. I got to know all of Dre and also Paola, so we had also this situation for a while. It was really it was just a really nice uh time period in life where you could have access to your studios and it was very genuine. So all of them, to be honest, to be able to, well, we can share this space, we can share all this equipment. It was just nice, you know.
Speaker 1:So, yes, of course, yeah yeah, I mean, I mean, that's not. That's a really nice thing that can happen and and that's definitely not strictly limited to berlin at all. I know that like, particularly like when I've, when I've spoken with um like, say, drum and bass artists, uh, and dubstep artists in the uk, there's this sort of sense of like ravelin competition, like this sort of sense of everyone bringing each up, up a level. You know, like a like a support network, and I feel like that can be. You know, I feel like that can be missing sometimes from certain other scenes and also, I think, when artists don't have that, there is that sort of thing that you can't quite get without like other people's perspectives. You know, like everyone helps each other and you see things through someone else's. You know, were there any particular ways that you felt like you benefited from that yourself in terms of the music that you make?
Speaker 2:yes, I guess. So I mean, um, I mean through this for sure, I mean through this example, for sure, for sure. I wish I could have this myself now I could. I wish I could reverse it somehow. But um, yeah, I have to think how I can do, ah what you mean?
Speaker 1:like to give back, do you mean?
Speaker 2:like to give back. Do you mean yes, exactly?
Speaker 1:Right, yeah, yeah.
Speaker 2:Yeah, I'm thinking of this, although I'm more in a phase now like, okay, it's time for me to give back in a different ways, but since I'm in a different context of a different place, country, smaller, I don't know how to. But, yes, I like to do this, but I don't want to do. Yeah, yes, I like to do this, but, but I don't want to do. Yeah, whatever, yeah, this is another question.
Speaker 1:No, I know what you mean. Sometimes they're those kinds of ideas that they just or that, that feelings that they just stay in you for some time until they, they sort of grow subconsciously. You know, you think about them a bit and then they yeah.
Speaker 2:And then some period of time that you realize you're doing it. Yes, exactly, and it will come naturally. In a way, I'm waiting for that moment. I will come naturally and I will write. People will come and I will like, okay, let's do it. And, um, yes, yeah yeah, yeah and like.
Speaker 1:So, outside of, outside of performing and making music, like, what other kinds of things do you draw on to find kind of creative energy or sort of nourishment?
Speaker 2:At the moment not much, but yeah, I guess, actually I'm trying to explore, Actually I'm really in this questioning things, like at the moment I'm like, okay, I have reached a moment in my career, like, okay, I think I have achieved a lot. I think, in my eyes, for me, for my personal, I wonder in which direction I could go. And, yes, I definitely need some more, uh, new, different inputs that are not especially coming from music or maybe even not into. Maybe I should do more different things that are not artistic, you know.
Speaker 2:So, yes, I don't know, um, I've been taking some tarot classes at the moment okay yeah, that's been very interesting, um, but not for, not especially for the divinatory side of it, but, like we have more this reflective, um, thoughts about yourself and um, it's been very, very interesting. Each time has been also because, uh, the person doing it has been very, very uh inspiring in some levels. So I've been doing this and, like each, each hour we do together, I'm learning this new, different card. I cannot read them.
Speaker 1:Like I mean I cannot get together.
Speaker 2:I'm still not there, and even though I've been doing stuff for some months, but it's been very, very interesting because, yeah, each card is showing you where you are in different level of moment in your life and different steps in your life, and so it's very, very interesting right.
Speaker 1:Yeah, I mean, I really like what you said there about, like you know, tarot and, I think, certain other things like that as well. It's about using them more in a reflective way than like you know. It's, I think, the the sort of I um, well, yeah, I'll just leave it at that with that, but I think a lot of those things, like you know, again, it's that sort of inner journey, you know.
Speaker 1:It's like sort of looking at where you were at and it seems like there were things like that, like this kind of process that you put into the music for this album of of sort of self-examination, but like a gentle way, would you?
Speaker 2:say yeah, yes, exactly, exactly, yeah, yeah, totally yeah so this is one of the paths I'm exploring right now. Um, yeah, I would like to be a bit more not connected with nature, but it hasn't happened yet. Um, yeah, these kind of things. But yeah, I would like to do something very different from, uh, the art world in general. Um, but I haven't gone, I haven't really found the way to do it yeah, I, I'm the same.
Speaker 1:I'm the same. I get moments of inspiration and I think like I'm gonna, anything from, I'm gonna join a climbing wall to, um, yes, I think, I think we, I think we're all going through these different questions because we know they're important but also it's not easy.
Speaker 2:There's one thing on an intellectual level, you know, and the other things to do, the action, and yeah, and finding the right people, the right group, is always like no, it's yeah, so I have to find the right yeah, the right timing, or all of this, but I guess at one point it will come. It's just, you know.
Speaker 1:Yeah, yeah, yeah, definitely, definitely. I think also like not being in my sort of younger, so younger years anymore. I feel like it's something that sometimes you have to go to a little bit more Like. When I think like sort of in your 20s, it's like things kind of come to you because you're like usually with around a lot of people. You know, I don't know not everyone, but I was around a lot of people through like studying or like having those sort of school friendship groups. You know, now it's like you have to actually like yeah, you have to find these people yeah because,
Speaker 2:you're all in all different bubbles and uh, yeah, you have to find the bridges and all and uh, even though in the past, when I was younger, I was more, I was in kind of involved in some activism, like ecology, like, but I was not, um, but it was not, yeah, the right fit at that time and I would like to do this in a different ways. And, yes, obviously, here where I am, there's millions of options, but I haven't.
Speaker 1:Yes, I have to find the right, uh, that we are in the same connection, the right right people, the right tribe, the right tribe yeah, and I wanted to ask, like you know, if you're thinking about, like, say, someone who was maybe at the age that you were at, when you were, just like before you had found your musical identity, but when you were, you know you were talking about back in Montpellier, you know it sort of started with production, just playing around. What would you tell someone at that stage? You know, like from what you know now, like what kind of advice do you reckon you'd want to give to someone?
Speaker 2:just really follow what comes through to you, like, really, like, whatever comes, just just don't be afraid. I think it's just the fears I mean, it's true, for anything, there's only fears that hold you up. So, if you manage to calm down that fear, just go, just follow the path and you'll see where it takes you and maybe it goes. You're going to take here the right side, the left side, whatever, but just yeah, if you have this calling of being creative or doing music, and don't, yeah, don't. Don't. Try to not self-sabotage yourself Like, oh, this is not good enough, oh, this is not better, just just let it go, just let it go through, let it flow, let it flow. Yeah, that's it, to be honest.
Speaker 1:And um, yeah, that's it to be honest. And yeah, and pipe down the fear as much as possible, yeah, I think that's really good advice.
Speaker 2:I think you have to like just make stuff and not really care if it's good initially, just to just just do it you know, just make yes yeah it is the same we're just saying five minutes ago we're like finding I travel, like, I'm like finding the right people, but again, I guess we're always in a different, in uh, stages in life. You're like, oh, this is new, I have to go on this and have to explore, I have to find these people, I have to. But yeah, it's just so like, let's do it, let's do it, but I um, yeah, you know, yeah yeah, definitely it never ends.
Speaker 1:It never ends.
Speaker 2:It's like we're we always walk in the same circle, but it is life at the end. It's what I learned with the tarot. It's like always the same things and like oh, I'm here, Okay, I've done this already in the past, but I have to explain different ways. But, yeah, yeah, very wise.
Speaker 1:Thanks so much for chatting with me today.
Speaker 1:Thanks for having me, okay okay, so that was me, paul hamford, talking with remy on frank aka roxy moore, and we had that conversation on june the 11th, 2025. Emily, thank you so much for sharing your time and thoughts with me there, juggling dualities. The album is out on july the 17th on k7 is a fantastic listen, um, give it a go. If you like the show and you haven't already, please give it a subscribe. Give the show a rating and a review on the platform of your choice. It really, really, really does help. I appreciate every single rating and review, really appreciate it. Um, if you like what you, what I do and you want to hear more, you can listen to my bbc radio documentary the man who smuggled punk rock across the berlin wall by heading on over to the bbc sounds app or on the bbc world service home page, and my book coming to berlin is still available in all good bookshops or via the publisher's website. Velocity Press.
Speaker 1:Lost in Sound is sponsored by Audio-Technica, the global but family-run company that make headphones, turntables, cartridges, microphones. They make studio quality yet affordable products, because they believe that high-quality audio should be accessible to all. So, wherever you are in the world, head on over to Audio-Technicacom to check out all of their range of stuff. So the music you hear at the beginning, at the end of every episode of lost in sound is by tom giddens, hyperlink as always in the podcast description. And so yeah, that's it. I hope you really enjoyed listening today. I look forward to chatting to you soon, thank you.