Yet balance it does, and rather gracefully.
Evelyne Péquignot's voice as LUNA provides the project's gravitational centre. She possesses that rare quality of sounding both studied and effortless, her delivery recalling the elegant poise of mid-century chanteuses without ever tipping into karaoke reverence. The EP's extended version of "Je Ne Peux Pas T'Oublier" showcases this duality perfectly – Péquignot navigates the French lyrics with genuine feeling, her phrasing conversational yet considered, intimate yet theatrical. The song itself unfurls with unhurried confidence, allowing space for Matthias van Stipriaan's guitar work to sketch atmospheric textures around the vocal line.
The band's self-appointed genre designation – "Swingin' Vintage Pop" – proves more than marketing copy. Across these six tracks, The Gents demonstrate a sophisticated understanding of their source materials. Yves de Groot's keyboards provide period-appropriate flourishes without museum-piece stuffiness, while Rainer Schudel's bass lines walk that narrow path between propulsive swing and contemporary pop sensibility. Andy Lang's drumming deserves particular mention; he resists the temptation to over-busy the arrangements, instead offering precisely calibrated rhythmic foundations that let the songs breathe.
The production values warrant attention. The decision to record with "real instruments and classic studio technology" could easily have resulted in affected, Instagram-filtered nostalgia. Instead, the sonic palette feels genuinely warm and lived-in. The mix favours clarity over compression, allowing individual instruments their own distinct space – a refreshing approach when much contemporary production flattens everything into homogeneous digital smoothness.
The virtual nature of the project introduces intriguing questions about authenticity and performance. LUNA & The Gents exist purely online, their music divorced from the traditional validation of live performance. This could feel gimmicky, yet the quality of the musicianship and composition argues otherwise. These aren't algorithms approximating vintage pop; they're skilled musicians choosing to operate outside conventional band structures. The approach feels less like evasion and more like liberation from expectation.
That said, the EP's reliance on previously released material creates a slight sense of compilation rather than cohesive statement. While each track demonstrates the band's signature sound, the collection occasionally feels like a calling card rather than a fully realized artistic vision. The inclusion of the extended "Je Ne Peux Pas T'Oublier" hints at deeper ambitions – the song's additional running time allows for genuine development and exploration – but leaves one wishing more of the EP shared this expansiveness.
The country nuances mentioned in the band's description emerge subtly throughout, adding welcome textural variety without overwhelming the core swing-pop aesthetic. Van Stipriaan's guitar occasionally hints at Nashville twang, while certain melodic choices nod toward Americana traditions. These elements integrate organically rather than feeling tacked-on, suggesting musicians comfortable drawing from multiple wells.
"SECOND LIFE (PART I)" ultimately presents a paradox resolved: music that honors historical styles while maintaining contemporary relevance, virtual musicians creating tangible emotional resonance, a debut that simultaneously introduces and anthologizes. LUNA & The Gents have carved out distinctive territory in pop's crowded landscape – territory where Julie London might have happily shared a bill with The Cardigans, where sophistication and playfulness coexist without contradiction.
Whether this project represents sustainable artistic direction or charming detour remains to be seen. For now, "SECOND LIFE (PART I)" offers six tracks of impeccably crafted vintage pop that refuse to feel like mere recreation. The Gents can play, LUNA can sing, and together they've created something genuinely engaging. The physical CD release acknowledges their target audience – those who appreciate music as object, not just stream – while the digital availability ensures wider accessibility.
A promising opening salvo, then, from a band that may not exist in conventional terms but sounds utterly convincing nonetheless.