About Émilie

Mastering : noun, refers to the final technical stage in creating a track, consisting of homogenizing all the elements of a mix. Okay, that’s the theory. But in the mind of Emilie Daelamans, it is first and foremost a dive into an ultra-sensitive world, made of precision, warmth, delicacy and emotion. “Whatever some people may say, there is a real artistic contribution that comes with the technical expertise. It’s a bit like colorgrading, we give the project’s color all its brilliance.” The young woman readily describes her work as “the final touch, a fresh ear bridging the gap between production, audience and medium.”

Whilst the young specialist has now set up her own studio in Maisons Alfort, she spent many years working at the prestigious Ferber Studios, first as an intern and later as an assistant. Mastering wasn’t yet on her radar, even though the few introductory courses had already planted a seed in her mind. “In France, mastering is still very niche, it’s very hard to find an internship”. And so Emilie decides to set sail for New York, to work with the expert Josh Bonati. Three pivotal months of internship, from which she emerged with a true calling. 

Back at Ferber Studios, it’s the year 2021 where Emilie was offered the mastering for one of the most significant albums of her early career : Overtones For The Omniverse by Canadian artist Mocky, “a very live, very acoustic album on which I learned a lot”. Then came a string of enticing collaborations : the french duo Agar Agar - with whom she worked on their last two albums- the young hyperpop prodigy Babysolo 33, the brilliant Bonnie Banane and the virtuoso Flavien Berger. Throughout, the same constant remained : “bringing texture and organic quality to an electronic signal”. 

It makes sense for someone who has always been immersed in a world of rock, post rock, indie, and ambient music, and who is now developing her own music through the project Lianor, in an indie, slightly British synthrock style. If she had to sum up her approach ? “Agaisnt the tide of the loudness war that’s been going on for decades. To me, this war is no longer relevant if we’re going to offer originality.” On the contrary, Emilie wants to “degrade the music as little as possible, by finding the best balance between volume and quality”. 

Less is more, all things considered.