“[Duologue] have created something simply breathtaking from the opening vocal line” – The Blue Walrus
“A gorgeous melody with a soaring vocal that’s heartfelt yet restrained and free of pretension set against a soundscape of guitars, programmed beats, drums, whilst piano and violin add to the miasma of haunting melancholy. And it’s all rather beautiful” – The Von Pip Musical Express
“This is spectral rock music for the modern age” – Breaking More Waves
Duologue release their new double-A side single, Underworld/Zeros, on the 29th October 2012 through Killing Moon Records. It precedes the release of their debut album.
Duologue’s cerebral experimentation is fast becoming a new favourite among the cognoscenti. This, their third release, finds the London band at their most potent and arguably their most melody-driven too.
The journey began with two original members – Tim Digby-Bell and Toby Leeming (vocals/live programming and beats) – producing on a computer whilst at Edinburgh University. Both realised what they were creating was sounding too big for just a couple of people to play. Seb Dilleyston was brought in to add atmospheres on violin having previously trained with world renowned violinist Maria Eitler. Toby Lee was next to join on guitar and then bassist Ross Stone completed the line-up.
Bonding over a mixture of the best in pulsing electronica and guitar-based music, they’ve fused this eclecticism into a sound of their own.
This single is the finest example yet of what Duologue do so well. Underworld builds serenely, focused almost solely on vocals before a visceral soundscape of guitars, programmed beats, drums, and piano collide in the mix. Its crescendo filters back to just that simmering vocal and a stark piano. Zeros opens on a dirty, bluesy guitar riff, before Duologue’s programming and beats fill the song in a cacophony of sound. Similarly to Underworld, the vocal, which flits to and from falsetto on a whim, is the perennial driver, and can find few comparisons.
Having already self-produced and released two EPs showcasing their ability to encompass a wide range of sounds and references, the final piece of the puzzle came with the introduction of producer Jim Abbiss (Adele, Arctic Monkeys, Ladytron). In March 2012 the band and Jim holed up in a Chatham studio and began work – with many of the parts already formed and recorded, Jim took on a co-production role, intuitively helping them further enhance their sonic make-up. Digital synths were replaced by richer analogue gear, real strings replaced programmed ones, and even the inclusion of a church organ.