Since the creation of Fantastic Twins in 2013, electronic artist Julienne Dessagne has revelled in the abstract and literal narratives behind what she imaginatively refers to as her ‘brain children’. Early releases fluctuated between deep techno and synth pop noir, culminating in Dessagne’s fantastically bizarre soundtrack LP Obakodomo (2017) – an icy concoction of Antarctic atmospheres, originally commissioned for a contemporary dance production for children.
Numerous experimental EPs have followed, including the Dada-inspired 2222022, reverse-engineered live experiment Lost In Germany and last year’s adrenaline-heavy, modularbased 46cm Hole In Her Cell. Now, on what Dessagne considers to be her true debut album, Two Is Not a Number, the producer goes further in chronicling the entwined lives of her imaginary Fantastic Twins identity. Dark and twisted with unnerving processed vocals, it’s not for the fainthearted.
What role did computer games play in your early fascination with electronic music?
“I played a lot of video games as a kid and that really had an influence on my interest in this field. I started on an Atari ST and there were quite a lot of video game developers in France, some of which had fantastic soundtracks that I enjoyed playing along to. I have a big brother too, so video games would be all he’d order for Christmas or birthdays. What I found incredible is how the music was made with such limited technology, and it’s funny that with all the technology we have, now people are still trying to recreate that charismatic sound.”
Were the Fantastic Twins ever
