Three atmospheric electronic records, from a sketch caught on a train to a grid of pads

I founded this webzine, and Rê>ON is my music project: atmospheric electronic music built from slow pads, textures and long decays. Since summer 2025 I have been releasing on every streaming platform, first as singles, then as records: two albums and an EP so far. I gather them here from newest to oldest, saying for each what it is about, how I made it and where to start.

I will update this page with every new release. Bookmark it rather than hunting for the next record in the site’s archives: this is where it will show up first.

Discomposed (2026), six titles taken from studio vocabulary

Released on 5 October 2026, Discomposed is my third record and the first short-form one. The Discomposed EP has six tracks on Spotify, running 27 minutes 59.

The tracklist reads like a workshop glossary: Discomposed, Second Movement, Overdub, Half Step, Counterpoint and Common Time. Each word names a gesture of writing or recording, and each carries a second meaning the record leaves you to find. I only spelled out one in the Discomposed EP feature: Half Step, the semitone. The rest I leave to you.

The material is spare: slow pads, long decays, almost no percussion. The two longest pieces open and close the record, and the arc runs from a form coming apart to common time, the simplest metre there is.

It is also the first record I made with a pad surface. I wrote the opening track on a MIDI keyboard and the five that follow on a Launchpad Pro MK3, in the same software on the same computer. A workshop piece looks at what the controller changes in composing.

The sleeve starts from the Rê>ON logo, cut into an orange half and a violet half, with no title and no artist name. The palette is the one Léopoldine Kammerer designed for the project’s identity. To start, play the opening track: it is the one I pitched to playlist editors.

Every new Rê>ON track lands in your library the day it comes out. Follow.

Les souvenirs connectés (2026), memory and the machine

Released on 17 May 2026, Les souvenirs connectés (connected memories) is my second album. The album Les souvenirs connectés has 19 tracks on Spotify.

In it I explore the fusion of human memory and technology, past and future, the organic and the digital. I conceived the sleeve around that duality: intimate, almost tactile memories mixed with networks and data flows.

The first album imagined what machines dream about. This one starts from human memories and what becomes of them in contact with technology. My method did not change: I caught the ideas on my phone, often far from the studio, then developed and finished them in Ableton Live.

It sits in the middle of the catalogue, tighter than Connected Dreams and longer than the EP. It is the natural next step for anyone who liked the first album and wants to hear where the method went next.

Connected Dreams (2025), if machines could dream

Connected Dreams is my first album and the largest. Its pieces first came out one by one as singles, from 31 July 2025, before being gathered into the album released on 25 December 2025. The album Connected Dreams has 46 tracks on Spotify: 23 pieces and 23 interludes linking them.

It starts from a single idea: if machines dreamed, their dreams would be made of inconsistencies and imperfections, like ours. I went looking for those imperfections instead of correcting them.

Many of the pieces were born on a train, on my phone, in the Ableton Note app: a pad laid straight onto the screen, a loop going round, an accident kept because it sounded right. Arrangement and finishing came later in Live, with a return to the MIDI keyboard for a few tracks. I told the story of that process in the mobile sketchpad behind Connected Dreams.

With its interludes, the album suits continuous listening more than picking single tracks. It is the one to put on for a long work session or a journey.

Where to start, depending on the time you have

The three records do not ask for the same listening time. The easiest way is to pick by moment.

  • Under half an hour: Discomposed, in one sitting, on headphones at a moderate level.
  • An hour of work or reading: Les souvenirs connectés, in tracklist order.
  • A long journey or an evening: Connected Dreams, interludes included, shuffle off.

Whichever you choose, leave the ends of tracks alone. That is often where the next one is being prepared, and it is what makes a record more than a run of pieces.

Three records, two ways of catching an idea

What links the three records is not a sound but a method, and it changed along the way. Both albums start from the phone: I catch the idea wherever it turns up, on a train or in a corridor, then finish it in the studio. With Discomposed I moved the gesture into the studio itself, with a pad grid used to try out progressions rather than write them note by note.

The software stayed the same: I finished all three records in Ableton Live. The common thread is a stance, keeping the accident. A loop found by chance on a train, a chord stumbled on inside a locked scale: what ends up on the record is something I played, then kept because it sounded right.

This page is not fixed. Each new release will take its place at the top, read through the same lens: what the record is about, how it was made, and which track to enter by.

Hear Rê>ON in the Electronica playlist

To hear Rê>ON alongside the pioneers and today’s artists, I put three tracks from Discomposed in our 70-year anthology of electronic music, the Electronica – Electronic Music Anthology playlist. It is built to be played end to end, from musique concrète to ambient.

All my listening links and social accounts are gathered on the Rê>ON links page. A question about a record, an idea for a collaboration or a broadcast: write to me through the contact page (the page is in French).