With the release of 2016’s Jeunes instants EP, 2017’s full-length debut À jamais privé de réponses and 2019’s Jettatura EP, the rising Montreal-based indie electro pop duo Paupiére, visual artist Julia Daigle and Polipe’s and We Are Wolves‘ Pierre-Luc Bégin, established their sound, a sound that meshes elements of 80s English synth pop and New Wave — i.e., The Human League, Depeche Mode and others — with French chanson. But just under the breezy pop melodies and catchy hooks, the duo’s work thematically touches upon naive, adolescent and hedonistic romanticism and a contemporary disenchantment.
Slated for a May 7, 2021 release, the duo’s sophomore album Sade Sati continues their ongoing successful collaboration with We Are Wolves’ Vincent Levesque, who produced their previously released work. Album single “Coeur Monarque” is an infectious and sugary sweet pop confection centered around shimmering synth arpeggios, skittering polyrhythmic beats and boy-girl harmonies. Sonically, the song is a playful, hook-driven mix of Phil Spector-era pop and Ace of Base-like synth pop — but thematically, as the duo explain the song is much darker: “‘Coeur Monarque’ is an imaginary tale about a girl, who lives her life according to her moods. Her freedom contributes to her isolation and she loses herself in it. ‘Coeur monarque’ is a light and poppy piece, just like the protagonist of the story.
Directed by Kevan Funk, the recently released video for “Coeur Monarque” follows a a brash and very stylish woman, who’s caught in a Groundhog’s Day-like loop in which she endlessly repeats the same actions in generally the same fashion with minor — yet very important — differences: the seasons change, which require different outfits and outerwear and a few times the time of day changes. What we wind up encountering is this protagonist preparing for a night out with her usual rituals: making sure her makeup and outfits are just right, smoking a cigarette and/or pre-gaming with a quickly gulped glass of wine or a can of beer. Sometimes a friend stops by to hang out or to pick her up; but generally, she seems to be on her own and heading to meet someone. Much of the behavior is escapist and destructive without much rhyme or reason, except maybe boredom. “We really liked the idea of being caught in a time loop, reliving that same routine over and over again,” the video’s director Kevan Funk says of the new video. “The idea was to focus on the cycle of a festive lifestyle, which in some way drives away the alluring fantasy that we often imagine. Evocative of a life synonymous with the monotonous and destructive treadmill on which our main character sits. “