The Ultimate Dreamers interview: ‘Leaving room for a post-punk surprise‘
The Ultimate Dreamers (Photo by Nicholas Crombez)
After their unexpected yet triumphant return, Belgian darkwave/post-punk act THE ULTIMATE DREAMERS continue to redefine their sound with their latest album, “Paradoxical Sleep”. With an expanded lineup, fresh influences, and a deepened creative vision, the band embarks on a new chapter that blends nostalgia with modernity. We sat down with Frédéric to discuss the evolution from “Echoing Reverie”, working with longtime collaborator Len Lemeire, exciting guest contributions, and the magic of live performances. Dive into the mind behind “Paradoxical Sleep” and discover what makes this album their most personal and ambitious work to date.
The album is available on Bandcamp and from the Alfa Matrix webstore on CD and on vinyl.
S. “Paradoxical Sleep” marks a new creative chapter for THE ULTIMATE DREAMERS. How did the writing and recording process differ from your previous album, “Echoing Reverie”?
F. ‘Echoing Reverie’ featured 6 tracks (+ 2 bonus tracks), of which only “Polarized” was completely new. The others were a cover (“Hell’s Bells”) and 4 tracks composed during the band’s first life in the late 80s but which had been completely rearranged and re-recorded. “Paradoxical Sleep” features 11 tracks (+ 2 bonus tracks), 10 of which were written in 2023. Only “Envoler” is a new version of an old song that we wanted to re-record because of its success in concert. ‘Paradoxical Sleep’ is much more representative of the band we are today and our current influences. Creatively, I’ve learnt to use modern tools and we’ve included Sandrine’s cello on two tracks. The lyrics were also written in close collaboration with Kelly O’Hara. Finally, the recording went differently, with a lot of takes done at home before going to Len’s studio. It was a longer process.
This interview is part of an ongoing interview series that we do in collaboration with Spleen+ / Alfa Matrix for the massive 7CD post-punk / coldwave / minimal electro boxset “Resurgence”. You can order this fine set as a 7CD set or as a download via Bandcamp. This release will NOT be available on Spotify or any other service, except for Bandcamp.
S. You worked again with Len Lemeire (IMPLANT, 32CRASH…) for the mixing, engineering & production? A dream team for you?
F. You could say that. As we sometimes read, Len is in a way the 5th member of the group. We get on very well and talk to each other a lot. He makes a decisive contribution to the sound design and some of the arrangements. He does all the mixing but I’m there all the time. Finally, his talent for mastering is well established. Many listeners have commented on this.
S. The album blends post-punk, darkwave, and new wave with a modern touch. How do you strike the balance between staying true to your influences and evolving your sound?
F. It happened naturally. I was brought up on post-punk, which will always be a fundamental influence, but I’ve always kept up with the latest music and trends. Bertrand, Joël and Sandrine also have their own musical culture, which adds to the range of influences.
S. The singles “Digging” and “Spiritchaser” set an intriguing tone for the album. What do these tracks represent within the overall narrative of “Paradoxical Sleep”?
F. The choice of singles was the subject of much thought and external consultation within our circle. “Digging”, with its doom overtones, was a radical departure from what we’d released up to that point. We thought it was a good song too, so we chose it as our first single. On the other hand, “Spiritchaser” was more electronic and pop. Choosing it as the 2nd single both reassured and defined the perimeter of the album to come.
S. Guest collaborations play an important role on this album, with Simona Ferrucci (Winter Severity Index) and June Dune (Dead Crush) lending their voices. How did these collaborations come about, and what did they bring to the album’s atmosphere?
F. The idea of having guests on the album came about while the songs were being written. For “The Knife”, it was obvious from the outset and we had actually tested the formula before recording, during a concert where June Dune joined us on stage for her vocal part but also for a guitar line. It was done without rehearsal and it worked really well. We obviously put it into practice on the record.
For “Into the Fog”, it was in the studio that the idea of a female voice answering mine on the chorus came up. I immediately thought of Simona, one of the artists for whom I have the greatest admiration. Here too, her beautiful, deep voice fits the mood of the song perfectly. In the end, June’s and Simona’s contributions, as well as Kelly’s writing, bring a healthy feminine element to the album.
S. Sandrine’s cello adds an ethereal depth to certain tracks, just like on stage when you perform live. How did this element shape the sonic identity of the album, and was it something you always envisioned incorporating?
F. Sandrine is classically trained and plays in two orchestras. The cello is her favourite instrument and we’ve included it live since she joined the band in 2023. It’s something that sets us a bit apart from other bands and is much appreciated during concerts, particularly in England and Germany, even if it remains a technical challenge. Naturally, the instrument has found its place in our new compositions and we’re keen to give it a prominent place, without it being predominant. It’s an instrument with a nostalgic sound that’s particularly suited to our music.
S. The album artwork is as striking as the music itself. Can you tell us about its concept and how it ties into the themes of “Paradoxical Sleep”?
F. Thank you. We’ve had a lot of positive feedback about this visual. We commissioned it from Nicolas Crombez, a Belgian graphic artist with whom I’ve worked a lot in the past. I had Nicolas listen to all the demos and explain the themes in each song. I then gave him carte blanche and his inspiration did the rest, with a result that transcends the music of the album it illustrates. I followed the same procedure for the videos, directed by Nele Vereecke aka Amanita Noir. I love leaving room for surprise and that moment of discovery.
S. With limited-edition colored vinyl and a collector’s digipak CD, it’s clear that the physical experience of music still matters to you. In an era of streaming, why is it important for you to offer these special editions?
F. It’s undoubtedly an old school approach, but we remain attached to the album experience, where a group of tracks form a coherent whole, whereas with pure streaming, certain songs might never be played. In this context, the physical medium takes on its full meaning, with a visual on which you can linger for a long time while listening to the music. I’ve never been a fundamentalist of the ‘vinyl sound’ but I was very surprised when I listened for the first time to the test pressing. With these tracks, which I knew perfectly well, I clearly heard, more than ever before, a clear difference with digital. And I liked that.
S. Since your quite unexpected “resurrection”, it’s quite impressive the number of concerts you made and a bit everywhere. Which were the 3 most marking places you played at? And I suppose lot more shows are in the pipeline for 2025?
F. Yes, we really enjoy the live experience. It’s a lot of fun and excitement, not least because it’s a bit of a risk for a band that’s not just throwing karaoke on a laptop. Our 3 most vivid memories are our mini-tour of England at the end of 2024, which we thoroughly enjoyed, our open-air concert on an airfield near Namur, at sunset under a sky worthy of Magritte and in front of an enthusiastic audience, and finally our first concert at Le Botanique, supporting And Also The Trees. As a bonus, I’d add the Minicave 2023 festival in Germany. Indeed, 2025 is shaping up rather nicely, with a few summer festivals if all goes well and quite a few concerts abroad, including a return to England. I hope that the excellent feedback we’ve had on ‘Paradoxical Sleep’ will lead to some great propositions…
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