Feature: Florent Lelong Decodes ‘CONSTELLATIONS’
Can you share any interesting or unique stories or perspectives in 'CONSTELLATIONS?'
A few weeks ago, when the first single from this album, “Orion,” was released, I received a comment on YouTube where someone essentially said: "If the word determination had a musical theme, this track would be the perfect choice." The word determination immediately caught my eye—it perfectly describes the state of mind in which I composed this album. I remained true to my vision of music, especially electronic music. In pop, rock, or rap, emotions are conveyed through lyrics and vocals. But electronic music has the power to evoke emotions and create sonic landscapes in the listener’s mind purely through sound. That’s why my music is entirely instrumental—I have so much to express that words would be unnecessary.
Can you talk about the recording and production process for 'CONSTELLATIONS?'
I'm deeply attached to the idea of a concept album. This may seem outdated in an era dominated by streaming, where music consumption is driven by singles. But I believe that if the average person can binge-watch a Netflix series over a weekend, they can also take 45 minutes in a day to immerse themselves in the universe a composer has crafted. This philosophy shaped the creative process behind ‘Constellations.’ It’s designed as a journey. At first glance, it might seem like a voyage through outer space, but in reality, it invites the listener to explore their own inner universe. I mentioned determination earlier, but the album also conveys themes like excitement, hesitation in the face of the unknown, duality, absence, and fulfillment.
Can you talk about any standout tracks on the album and what makes them special to you?
Choosing a single track among the others is always difficult, but if I had to pick one, it would be the one I’m most proud of—the opening theme: “Pegasus.” I believe I struck the right balance between strong melodies and themes while allowing space for sound design and textures. There’s a kind of deceptive minimalism in this track. We used to think that space was mostly empty, but recent scientific studies have challenged that idea. Gustav Mahler once said that "music decorates silence." I needed to create a lot of space so that each element could find its place. In the end, the track has this magic carpet quality, inviting the listener to settle in. I’m particularly proud of it because it was one of the most challenging tracks to create.
Can you describe your typical creative process when composing music? How do you usually start a new piece?
Musical ideas can come from many different sources. Sometimes, it starts with exploring a particular sound—pushing it to its limits, seeing how it evolves over time and in the sonic space. Other times, a piece is born from a melody played on the piano. Eventually, all these sonic explorations converge. Like a puzzle, when the pieces naturally fit together, I know the track is on the right path.
Can you share a composition that you believe resonated particularly well with your audience?
Today, I can say that Orion is receiving an incredible response, whether on streaming playlists or radio. I’ve been getting a lot of messages from people who feel inspired by it. I’m especially happy that I managed to blend the deep house aesthetic with the dreamy, atmospheric qualities of ’70s electronic music. For a long time, electronic music was associated—at least by part of the general public—with nightlife and partying. But maybe this album will also offer listeners moments of introspection and contemplation—a chance to step back in a world that constantly overstimulates us.
