Acclaimed Ghent-based electronic duo Charlotte Adigéry and Bolis Pupul exploded into the national and international scenes with the release of 2019’s critically applauded David and Stephen Dewaele-produced Zandoli EP, which featured Paténipat” and “High Lights,” tracks that received airplay on UK Radio and were playlisted by  BBC Radio 6. 

Their official full-length debut as a credited duo, 2022’’s Topical Dancer was co-written and co-produced by Soulwax and the acclaimed Belgian duo, and was released through Soulwax’s label DEEWEE. The album’s material was deeply rooted in two things. The duo’s perspectives as Belgians with immigrant backgrounds: Adigéry proudly claiming Guadeloupean and French-Martinique ancestry and Pupul proudly claiming Chinese ancestry. And the wide-ranging conversations they’ve had between each other that touch upon cultural appropriation, misogyny, racism, social media vanity, post-colonialism, and more.

The album thematically is a snapshot of their thoughts and observations on pop culture in the early 2020s while sonically seeing the Belgian duo cementing their sound and approach. The material features thoughtful songs that slap — and slap hard — but are centered around their idiosyncratic, off-kilter and satirical take on familiar genres and styles. “We like to fuck things up a bit,” Pupul laughs. “We cringe when we feel like we’re making something that already exists, so we’re always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”  

The album’s songs are generally fueled by a restless desire to not be boxed in — and to escape narrow perceptions of who they are and what they can be. “One thing that always comes up,” Bolis Pupul says, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.” But they manage to do all of this with a satirical bent. For the Belgian duo, it’s emancipation through humor. “I don’t want to feel this heaviness on me,” Charlotte Adigéry says. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

Pupul steps out into the spotlight as a singer/songwriter and solo artist with his full-length debut, the Soulwax co-produced Letter To Yu. Slated for a March 8, 2024 release through Soulwax’s DEEWEE, Letter To Yu comes on the heels of a whirlwind couple of years touring the globe to support Topical Dancer. Thematically, the album is love letter to his beloved mother, who was killed in a 2008 traffic accident.

Born to a Belgian father and Chinese mother and growing up in Ghent, Pupul had not negated his Chinese roots exactly — his mother was born in Hong Kong — but he hadn’t exactly embraced them either. However, in the wake of his mother’s death, he began coming to terms with his heritage. “When I started to think about my roots, I started to embrace them. And it became more and more important for me to get in touch with them,” the acclaimed Chinese-Belgian singer/songwriter and producer says. ““I went to evening school and began learning Chinese. I did that for four years. That was the first step.”

His first visit to Hong Kong back in 2018 further cemented how he wanted to incorporate his Chinese roots into his own music. A primary intention on his first trip to Hong Kong was to find where his mother — Yu Wei Sun — was born. Not wanting to forget this overwhelming experience, Pupul began writing a letter to his mother, so he could properly grasp his thoughts. Some time later, when the album began to take shape, the acclaimed Ghent-born and-based producer remembered the letter. “It became the centerpiece of this album,” he says matter-of-factly.

Fittingly, the creation and recording of Letter To Yu has proven to be a pivotal and liberating experience for Pupul. “Even though this trip was very emotional and at times sad, I also had some great times that just made me really happy,” he concludes. “This resulted in a very uplifting melody where I felt like I could handle my life.”

Late last year, I wrote about the album’s first single “Completely Half,” which sees Pupul pairing a glittering Chinese-influenced melody, skittering beats and wobbling synths with Pupul’s dreamy and yearning delivery describing the sensation of searching for your looks — and the desire to understand someone, who can no longer speak for, let alone explain themselves. The track also features field recordings recorded on the Hong Kong subway, which adds a vital and forceful sense of place to the proceedings.

“Spicy Crab,” Letter To Yu‘s second and latest single is a techno pop ode to the city’s signature dish, spicy crab, which Bolis ate during his first visit to Hong Kong. Built around a relentless motorik groove, skittering boom bap and glistening synth oscillations with a brief woozy breakbeat-like bridge, “Spicy Crab” subtly recalls late period Kraftwerk and Giorgio Moroder while being a slinky club banger.