New LP from Maxime Dangles & Tommy Rizzitelli

The meeting point between Maxime Dangles and Tommy Rizzitelli came as a convergence of parallel paths that have been circling similar ideas from different angles. Both based in France, both shaped by years of exploration across sound and form, their collaboration lands where technical language gives way to something more emotional.

Tommy Rizzitelli’s background is built on rhythm, he was introduced to drums by his father, Roger “Bunny” Rizzitelli, whose own legacy includes work with Christophe and Jean-Michel Jarre, as well as founding the cult band Space Art. His work spans rock, pop and electronic projects, but it’s his interest in hybrid performance, acoustic drums meeting modular synthesis and Sensory Percussion, that defines his vision.

Maxime Dangles arrives from a different entry point, initially recognised for melodic techno releases on Kompakt, his work has since expanded into more experimental areas through projects like Skryptöm and Möd3rn, as well as into contemplative electronica and film scoring. A modular synthesis enthusiast, he also runs Jolene Records, a label based in disco-infused house and where Tommy leans into performance, Maxime leans into structure, but both share an interest in texture, in how sound can carry meaning.

Now, their joint project titled Sonars, brings those approaches into alignment; released via the Amoor Records imprint, the album is positioned as an art–science collaboration, shaped through dialogue with marine ecologists working across France and Québec. The focus shifts away from data and toward the emotional reality of witnessing environmental change, an attempt to express what scientific language alone struggles to hold.

Across its ten tracks, Sonars presents an immersive sonic landscape with echoes of vast environments, wooded terrain, open seas, frozen expanses translated into layered electronic compositions. Opened by “Rimouski,” woozy synth textures gentle swirl before the arrangement blooms with the rustle of shuffling drums and bubbling instrumental flickers, casting a dreamy soundscape that’s mesmeric and wholly absorbing.

“Saint Laurent” forms a darker sound with the pulse of bass synth and snap of drums capped by haunting synth leads, resulting in a dub-inflected instrumental jam that’s engrossing throughout. Collaboration remains central throughout and the album features contributions from Craig Walker, whose voice lead previously released single single “Bug,” which sees the album veer into angsty alternative rock spheres with a moody yet delicately melodic outing.

“Catastrophe” lands with the loop of ‘catastrophe’ and steady punch of kick as intense instrumental textures surge, forming an engaging, industrial-tinged dance experience. Aur joins Maxime and Tommy on “Reef,” offering a hypnotic synth pop style scene constructed with crisp percussion, stuttered synth layers and atmospheric vocals carrying enticing melodies.

On “Continent Plastique,” the duo links with Oxmo Puccino to serve up an alternative hip hop track that rolls with the marching strike of drums and eerie arrangement while Oxmo’s slick rapped delivery floats above. Closing the album with “Delusion,” they collaborate once again with Craig Walker to deliver a gripping finale that flows through moments of jittery synths, lively drums and soulful vocal performance, forging a memorable conclusion to their sensational album.

Listen to Sonars below