After spending time in France, Chicago, and Los Angeles, BRVMES has cultivated a sound that bridges the gap between the French electro and U.S. warehouse scenes. That dual perspective, alongside a background in classical music, runs deep through his catalog, where dark soundscapes, orchestral influences, and mid-tempo bass intertwine.
After appearing on REZZ’s latest studio album, As The Pendulum Swings, alongside Dillon Francis, the rising producer now steps forward with his first solo release on HypnoVizion, with DOOM.
Released January 30, ‘DOOM’ takes listeners on a cinematic journey, weaving orchestral elements, metallic synths, and industrial basslines into one electrifying sound.
Following the release, The Daily Frequency caught up with BRVMES to discuss the inspirations behind the single, blending classical foundations into electronic production, and so much more.
Check out the full interview with BRVMES below.
DF: Thank you for talking with us. You just dropped a massive new single, ‘DOOM.’ How does it feel to kick off 2026 with your first solo release on REZZ’s HypnoVizion?
BRVMES: It feels really good. I try to loosely measure a track’s lifecycle from when I start producing it, to its release, and then finally playing it out live. HypnoVizion really gave me a platform that allowed me to do all of those things unhindered and in a very free way. They understand my vision, and I was able to directly finish this track, release it, and then get the opportunity to play it live in front of a crowd. This whole release has been amazing and has made the start of 2026 incredibly fulfilling.
DF: While this is your solo label debut, it’s not your first HypnoVizion release, having appeared on REZZ’s 2025 album As The Pendulum Swings with ‘HOW I DO IT’ alongside Dillon Francis. How did the collab with REZZ first come together, and what is it about your sound that aligns so well with HypnoVizion?
BRVMES: REZZ and I were sharing tunes back and forth for about a year before the track even came out. Eventually, that one really clicked for the three of us and we were like, “Yeah, let’s do this.” From there, we all worked on the track more over a few sessions, and it came out amazing by the end.
I see HypnoVizion as one of the only labels in the EDM sphere that I truly align with because they’re authentic to midtempo and electro. For my sound, and for a lot of other artists I know, there isn’t a clear path in the U.S. to release this genre on a label and still reach an audience. HypnoVizion is doing exactly that and doing it really well. A lot of artists I’ve known for years released on the label before me, and it made me feel really good knowing that a home exists for us to showcase this style of music.
DF: ‘DOOM’ takes listeners on an industrial yet cinematic journey through sound. What was the driving inspiration behind the track?
BRVMES: The inspiration was actually pretty simple. I came off a stint overseas, spending time in the southwest of France and refining my sound, and I wanted to finally exit this production phase of BRVMES, which meant putting out a body of work. I needed a single that carried a dark aura and hit incredibly hard, and DOOM really encapsulates all of that. I wanted it to feel like the definitive return to releasing music and playing shows in 2026.
DF: Blending orchestral influences with heavy electronic elements, ‘DOOM’ doesn’t sit in one particular lane. How important is it to venture into the unknown and incorporate different styles?
BRVMES: Not only is it important, it’s incredibly necessary. I really believe it’s the artist’s job to expose people to new things sonically, visually, and beyond, and that usually involves taking risks and bending things together in strange ways. Sometimes it works and sometimes it doesn’t, but that’s the beauty of art. If I’m not at least a little nervous about the reception of it, then it’s not going far enough for me.
DF: Those orchestral influences are driven by the cello. What does the cello represent for you as an artist, and what kind of emotional weight does it bring to your music?
BRVMES: Growing up, I always felt at home in band and orchestra, to the point where the majority of my school day was spent in band classes. I was constantly living and breathing music. As an artist, it genuinely feels like home to bring those elements into my production.
I also love the heaviness and seriousness orchestral sounds convey. We’re in a time where a lot of EDM acts are focused on spectacle, huge productions designed and engineered to grab attention, so I don’t mind taking my music deadly seriously, because for me, it is. In the past, people judged me for not being lighthearted enough or for not “having fun,” but I see the music I make as something incredibly deep, and I want it to hit hard on every level and bring people into a different place than what they would hear and see at most EDM experiences.
DF: What first inspired you to transition into electronic music, and how has your classical training shaped the way you approach production?
BRVMES: When I was younger, around 2008 or 2009, I was playing drums and bass in local hardcore bands. At the same time, I was glued to YouTube, watching the dubstep scene unfold in real time. Once I realized I could create and express everything I wanted on my own, without coordinating rehearsals or commuting to someone’s garage, the scene kind of pulled me in completely.
As for classical training, it makes producing feel effortless. I can usually create whatever I’m imagining within a few hours, so most of my time is spent developing a concept or musical idea. Once that clicks, I’ll often write the entire track in a single night. It’s incredibly freeing not being technically blocked, and I can just let ideas flow naturally inside Ableton.
DF: On top of being classically trained, you’ve experienced a variety of cultures and music scenes by living in France, Chicago, and Los Angeles. Would you say your time in those places had a direct impact on your artistic identity?
BRVMES: Absolutely, especially France. The U.S. scenes really taught me about rave culture and the authenticity behind it, and shaped how I want to relate to listeners and the live-set relationship. However, my artistic identity has always resonated most with French culture. That started when I was a kid teaching myself the language, and eventually it trickled into what I was making and shaped what I gravitated toward sonically. Everything I liked and wanted to strive toward ended up being some French artist at the time, like Mr. Oizo, The Hacker, Miss Kittin, Djedjotronic, and others.
DF: Lastly, you mentioned that the collision of orchestral textures and electronic intensity is driving your new sound going into 2026. How do you see those elements evolving, and what can fans expect as the year unfolds?
BRVMES: I’d love to work with local instrumentalists and peel back that layer even more. You don’t often see string players collaborating with electronic acts, but I really think the two are meant for each other. Texturally, building ambience and setting a strong mood are things I focus on heavily. Alongside that, I feel a growing pull toward working more modular and spending more time outside the DAW as the year unfolds. I have a lot more music planned for release, continuing to push the boundaries of dance music little by little, and I hope it ultimately gives something meaningful back to the scene.
