#discopop

Yo . 😛

〈오만가지 잡생각〉은 사랑 앞에서 혼자만 끝없이 되감기되는 머릿속 소음을 그대로 옮긴 곡이다. 펑키한 베이스와 디스코 감성 위에 얹힌 가벼운 멜로디가 불안·기대·착각이 뒤섞인 감정을 밝게 흔든다. 웃고 있지만, 생각은 멈추지 않는다.

"Overthinking" captures the loop of thoughts that won't quiet down when feelings get ahead of certainty. Set on a funky bassline and disco-tinted groove, the song turns anxiety, expectation, and self-doubt into something bright and danceable. You smile, you move—but the noise in your head keeps playing.

"It’s a sound in my head."

The collective links up with Charmaine Taylor Conyers for a two-part single that blends lo-fi psychedelia, disco pop, and a global sense of groove.

Les Equateurs close out 2025 with Pomegranate Parts One and Two, a paired single that brings the group’s loose, exploratory approach into sharper focus through a collaboration with vocalist Charmaine Taylor Conyers. Released as a continuous listening experience, the two tracks are designed to be heard back to back, functioning less like separate songs and more like two chapters of the same short story.

Les Equateurs operate as one arm of the Numbers Factory collective, alongside Koof and the more widely known Big Mackoofy. At the center of the project is Eddie Blindell, a multi-instrumentalist whose work pulls from a wide range of sources without flattening them into pastiche. That instinct is present throughout Pomegranate Parts One and Two, which folds lo-fi production, psychedelic pop, and disco rhythms into something that feels worn-in rather than retro-minded.

Part One opens with a relaxed but insistent groove, built on layered percussion that hints at tribal rhythms without fully committing to a single reference point. The bassline moves steadily, grounding the track as sci-fi leaning synth tones drift in and out of focus. Blindell’s guitar work favors short, repetitive figures over extended leads, recalling 1970s pop and Zamrock without leaning too hard on nostalgia. The arrangement leaves space, and that space is where Charmaine Taylor Conyers makes her entrance. The track has an experimental approach to the production, echoing 90s trip-hop and alternative tropes, but reinterpreted in a whole new wave. The atmospheric synth sweeps merge well with the guitars, and the tambourine adds a smooth, driving groove that merges really well with the drums, enhancing the rhythmic feel of the song.

The vocal performance is central to the release. The delivery balances warmth and restraint, carrying emotional weight without tipping into excess. Across both parts, she conveys a sense of reflection that moves between contentment and unease, often within the same phrase. The lyrics, summarized rather than spelled out, focus on time, acceptance, and the tension between wanting control and learning to let events unfold. It is a theme that fits the music’s steady forward motion, which never rushes but never stalls.

Part Two shifts the palette slightly. The groove tightens, and the synths take on a more prominent role, pushing the track closer to disco pop territory while maintaining the project’s lo-fi edges. The rhythm section feels more assertive here, but the mood remains measured rather than celebratory. Instead of offering a dramatic payoff, the second part deepens the emotional tone introduced earlier, reinforcing the idea that resolution does not always arrive in a neat or obvious form. Ultimately, Part two is even more experimental, leaning more heavily on the drums and the bass, as well as allowing more space for vocal layers and synth textures, as well as some spoken words segments that add a lot of context and character.

The influence of bands like WITCH, Os Mutantes, and Budos Band can be felt in the way Les Equateurs blend psych textures with danceable structures. Still, the music avoids direct imitation. There is a ramshackle quality to the production that keeps things human, even as sci-fi elements and vintage tones intersect. Small imperfections are left intact, giving the tracks a sense of movement and presence rather than polish.

As a release, Pomegranate Parts One and Two works best when approached as a single piece. Listening to only one part feels incomplete, as if stepping away mid-thought. Together, they underline Les Equateurs’ interest in flow over impact, and collaboration over spotlight. Charmaine Taylor Conyers is not featured as a guest in name only, but as a voice that shapes the project’s emotional center.

The message that emerges is understated but clear. Life continues whether it aligns with expectation or not, and connection matters more than control. Les Equateurs and Charmaine Taylor Conyers do not frame this idea as advice or revelation. Instead, it is woven into the rhythms, the pacing, and the calm confidence of the performances. It is a fitting note to end the year on, and a reminder of what this corner of the Numbers Factory collective does best: letting different histories, sounds, and perspectives coexist without forcing them into resolution.

We also had the chance to ask the artist a few questions. Keep reading for more!

Pomegranate Parts One and Two are meant to be heard back to back. What was the original idea behind splitting the release into two connected parts instead of presenting it as a single track?

A longer version will probably be on the album, but we liked both short versions and the long one so thought we would release the 2 shorter versions first, I’ve also got a slightly old fashioned view that pop singles should be short and snappy, not quite mastered it but getting closer with this one.

Charmaine Taylor Conyers’ vocals sit at the emotional center of the release. How did the collaboration come together, and what did her voice unlock in the songs that might not have existed otherwise?

Charmaine needs to sing more- we did a track with the Big Mackoofy a few years ago which was great and we always had her in mind for more vocals, she’s got great taste and a wonderful voice-just needs to put it on more tracks

Les Equateurs operate within the wider Numbers Factory collective alongside Koof and Big Mackoofy. How does working inside that ecosystem shape the way ideas develop for this project?

Theres a group of us who all work on each other’s music-it’s very much who’s around and who’s inspired, and we have a wide network of like-minded musicians and artists who all support each other

The music blends lo-fi production, psychedelic pop, disco rhythms, and global influences without sounding strictly retro. How do you approach referencing the past while keeping the songs grounded in the present?

Music exists all around, the first caveman who banged a rock against a tree sent sounds into the cosmos-if you listen hard enough your antenna will pick up sounds and frequencies from the universe you can tourn into music

There is a recurring sense of reflection around time, acceptance, and human connection across both parts. How conscious was that thematic focus during the writing process?

We are all here for a short time- enjoy it, people are where they are so get along and get on with it

Eddie Blindell’s role as a multi-instrumentalist seems central to the project. How does that hands-on approach influence the arrangements and the slightly rough-edged character of the final recordings?