Télépopmusik’s first single was released in 1998 on the independent record label Catalogue under the rather misleading name of An Ordinary Life. A few years later, their first album – GENETIC WORLD – received critical and public acclaim following nominations at French Grammies Les Victoires de la Musique Awards and the US Grammy Awards, and a successful collaboration with Janet Jackson. With more than 250,000 copies sold worldwide, GENETIC WORLD became one of the very few French albums to boast sales across the world. During the marathon-like tour that followed the album’s release, Télépopmusik played around 100 concerts, from Moscow, Istanbul and the Glastonbury Festival to New York and Puerto Rico. One thing was clear: when it came to music, the trio meant devotion.

Recently, they have been busy working on solo projects: Fabrice Dumont wrote the original soundtrack for Catherine Corsini’s La Répétition, which was selected at the Cannes Film Festival, Christophe Hetier, aka Antipop, has appeared on several movie mixes and DJ sets, while Stephan Haeri, aka 2Square has recorded his first solo album. However, although its composition sometimes changes, nothing has been allowed to come between the three artists and their creative collective. And their second daredevil album ANGEL MILK turns out to be a very finely tuned piece of work.

It’s true that the three members of Télépopmusik spent more than a year locked away in their Parisian recording studio, working with the same team (their live sound engineer, singer Angela McCluskey and rapper Mau - ex Earthling) along with a new team member, singer Deborah Anderson, who was already known for her work with Mo Wax and DJ Shadow. Anderson’s voice gives ANGEL MILK a post-pop feel and a delightful sense of unity that allows listeners to slip smoothly into the world of this multi-instrumentalist trio. It is difficult not be seduced by the shimmering harmonies of Don’t Look Back, a wonderful ballad sung by McCluskey, or not to get entangled in the web of Stop Running Away (with Deborah Anderson), with its voices that seem to be lost in a distant echo. Anyway, with Mau, is the sort of perfect pop song that the Pet Shop Boys might write for a post-clubbing crowd, while Into Everything mesmerizes you with its tomb-like sounds and Love’s Almighty is like a sea of liquid crystals ready to explode. Elsewhere on the album, other atmospheric influences come to the surface (Gershwin, Yma Sumac) without jeopardizing the originality of the music, which draws its inspiration from a number of different sources, without declaring allegiance to any one single style or group.

With this perfectly honed second album, Télépopmusik has a surprisingly mature and simple approach to pop music, inviting us to go on a rare and unmissable journey. The group will be eager to extend this dream-like atmosphere to its stage performances, which have already begun to establish the group’s reputation throughout the world.