Uncovering new facets and treasures along the way, opening up to the potentialities of life and the magic of its epiphanies, the journey of Eliott Litrowski in the realm of electronic music is, rather than following an unexciting linear narrative, to be considered more of a timeless voyage where everything seems possible. One would indeed be hard pressed to pin down the French-born, Copenhagen-based producer to a single genre or aesthetic, so much his craft defies the conventions of floor-calibrated music while opening the scope onto further meditation-friendly rhythms and abstract atmospherics.

After dabbling with DJing as a teenager (his love for the art of wax-spinning and groove manipulation being then fuelled by scratch masters DJ Qbert and Kentaro), Eliott’s interest quickly hugged the bend towards DnB and hardcore music, subsequently seeing him take his first steps in the world of club music and outdoor raves, which he soon felt rather unfit for. A key transition came when Eliott started to frequent the likes of Batofar, Rex and, most importantly, the legendary Parisian queer club, Pulp, where he got to experience life-affirming performances from Ivan Smagghe, Chloé, and the club’s star resident, Jennifer Cardini, whose influence has never left him since then.

Key encounters with Kompakt founding member Tobias Thomas & Superpitcher, and Irakli (STAUB) – with whom Eliott has forged a durable friendship, gave another forward thrust to the young producer’s blooming career; soon offering him the opportunity to perform at some of Paris’ most reputed places (Concrete, 75021, Le Rex, La Machine du Moulin Rouge…) and European hotspots (://about blank, Culture Box, Griessmuehle, Claire…). Though his promising debut effort, ‘Confusion Totale’, came out on Popcorn Records Ltd back in 2013, it’s with his second sortie for Cracki Records two years later – the benchmark ‘Carjacking’ EP – that Eliott’s trajectory as a producer gained a further crucial momentum.

His shrewd signature sound – an effervescing meshwork of Italo-Disco romantics, kosmische-informed electro, breaksy progs and EBM-tinged rhythmic outbursts, has since been featured on David Vunk’s ever impeccably curated Moustache Records, via what’s certainly his most accomplished record to date, ‘Schmock Machine’. Eliott since resurfaced with a multisensory treat of a split-12″ alongside Dutch analogue wizard Mark Du Mosch in 2019, plus a couple choice contributions to vinyl compilations by French imprints Nocta Numerica and Too Many Cars. Now firmly established in Copenhagen where he can synch his passion for music and his work as an architect, Eliott has found more of the space and time required to deploy his vision, which you’ll soon get to hear a lot more of in the form of exciting solo endeavours and parallel collaborations.