
On the ground
Point Ephémère · Paris
Directions ↗Venue location, from OpenStreetMap.
The story
Songwriters Victoria Rose and Stone Filipczak are bound by a pact: a mutual devotion and a deep attachment to the music of @. In their solo lives, Victoria works as a beekeeper while Stone is a self-taught computer programmer. But when they join forces, they become a singular artistic entity, a true laboratory for avant-garde songs.
Their paths crossed on the East Coast house show circuit. Both have long moved within the DIY (« Do It Yourself ») music universe, with distinct backgrounds fueled by noise shows in basements, warehouses, and all-ages spaces. Victoria has notably released several records under the moniker Brittle Brian, while Stone recently performed under the pseudonym E.R. Visit.
Over time, the two musicians began collaborating remotely and gradually fine-tuned the @ formula: half Victoria songs, half Stone songs, each filling in the spaces left by the other's compositions. On their new album, Autosmile, their first release on the legendary independent label 4AD, @ puts this unique process to work in reinventing psychedelic folk, transforming it into a resolutely contemporary art form. @ is a coalition, a team, a two-headed cat; a collaboration that, once again, yields fascinating and timeless results.
The mysterious channels of the internet allowed the songs on the band's debut album, Mind Palace Music, to reach a much wider audience than Victoria and Stone ever imagined. The organic success of that album is almost miraculous, especially given the deliberately elusive and hard-to-reference nature of their stage name. Before that first record, @ had never played a live show or even sung a harmony together in the same room. All collaborations had taken place remotely.
Over the following years, the duo learned to rehearse like a real band, perform this music in front of audiences of all sizes, sing side-by-side, and make each other laugh on stage with deliberately absurd guitar solos. This transformation into a formidable live act profoundly influenced how Autosmile was arranged: the band favored experiments that were easier to reproduce live and significantly reduced their reliance on the digital production tricks that characterized their earlier work.
During the recording of Autosmile, Stone moved to Philadelphia, giving the duo the unprecedented advantage of finally living in the same city. Yet the two artists chose to continue working separately on their songs. As the saying goes: why change a winning formula?
Rather than booking a studio, they invited several close friends to participate on the album, enriching their already vast sonic palette with cello, violin, and direct-input drums. Victoria recorded her parts, as always, using a cheap 1980s microphone inherited from her stepmother, a former polka contest participant. Lacking a mic stand, she regularly places it in a coffee mug and records from her couch. Stone’s preferred setup is just as rudimentary. Yet out of this homespun magic come lush, complex, and sometimes surprisingly sophisticated sounds.
Victoria and Stone are above all songwriters of remarkable precision. Their sometimes baroque arrangements and production choices give the tracks a quality that is both raw and virtuosic. This inventiveness, applied to songs capable of rivaling the great classics of psychedelic folk, dis
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