Cracki Records
Bruxelles, BELGIQUE

If Lomboy has the flavour of Asian nights, this is certainly not due to chance. Tanja Frinta – thinking head of the Lomboy project – is a citizen of the world featuring some of the finest musicians from Tokyo and Paris. Lomboy fuses the traditional sensuality of electronic lounge inspired tunes, into a more modern version, gradually twisted and mangled out of shape. The outlook is equally distant and calculating as it is tender, accidental and human and thus marks this EP with the fitting title Warped Caress.

Native-born Austrian, Tanja Frinta – under her real name – has lived in Sweden, Spain and Belgium and is now treading upon Paris and Tokyo where she has written and produced Warped Caress collaborating with local musicians, notable Japanese band Lamp and her French live band including members of Le Colisée and Las Aves.

For her first single, the sublime title ‘Loverboy’ comes out as a big urban spleen, released in a space made of asphalt and artificial paradises. Groups like Hooverphonic or even Portishead play around this throbbing softness that is Loverboy, splashing about in the electronic lounge of the 90s.

The opener, ‘Alien Lady’ features a flute-driven solo backed up by a funky guitar riff that then transitions into a tropical beat and Tanja narrating the story of feeling a stranger in a big city, not understanding the social codes and clues ‘I don’t speak the language in the way that you know’ while Worth to you is a dreamy, glitched-out hypnotic track which maintains an edge of mysterious sexuality and her signature sense of intimate detachment.

If the atmosphere coming out of Lomboy’s work can be sometimes felt as prude and even shy, it certainly does not intend to hide with embarrassment the aphrodisiac scent that permeates it. On the contrary, this modesty perceived in the interpretation and in the production sensually envelops the different compositions, and imparts to this guilty pleasure the feeling of a stolen kiss. Warped Caress brings us to vertiginous heights and takes us into abyssal depths throughout the five tracks. This suggests at times a diegetic representation of this erotic world seen through the insolent prose and at other times a mimetic representation where each instrument plays an important part in every story told.

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