It’s been five years since multifaceted disco and house music project Hercules & Love Affair released an album and on June 17, they return with In Amber. The formidable new collection is the group's fifth album — and their most ambitious and sonically diverging project yet.
On In Amber, leader Andy Butler and his always unique and ever-changing group of collaborators expand our understanding of the dance floor, taking listeners from sweaty underground nightclubs into a broader, atmospheric landscape. Mostly gone are the throwback disco and house edits that first introduced audiences to Hercules & Love Affair. Instead, the new album emphasizes darker, more textural ambient and electronic elements, blurring the lines of what qualifies as a "dance music" album. Save for a few early singles, Butler described this new work as a step in a new sonic direction.
In Amber is also a record of firsts and a record of returns. Frequent Hercules & Love Affair collaborator ANOHNI returns for the first time in 14 years, appearing on several tracks and the single "One." Butler has described the track as an empowering moment, particularly for young trans, queer and feminine spirits.
Butler spoke with GRAMMY.com about working with Anohni, his musicianship, why he enjoys working with frequent collaborator Anohni, and what he wants listeners to take away from In Amber.
What have the last two years been like for you creatively?
They were very productive. I wrote a lot of music — on my own and remotely with other musicians — and explored other fields like creative writing [and] making art with my hands, [like] sculpture and jewelry. I would say it broadened my horizons creatively. It prompted me to use my "voice" in different ways. I have come to especially love writing (as in literature).
In general, it was a massive reset and it prompted me to slow down and rethink a lot of things. I feel like I came to more deeply appreciate the people and things in my life more.
It has been nearly 5 years since the last Hercules & Love Affair album was released. How have you changed or developed as a band leader since that last record?
Well, in all honesty, I have never really considered this a band, but rather a project in which other artists were invited to participate and dream with me. At this point, there have been well over 15 voices on Hercules songs, not to mention many, many guest musicians and a handful of co-producers. That’s a lot of change.
As the main producer and songwriter that identifies the concept for each album, I have always naturally followed my nose, and the life changes that take place in my life end up generally dictating the changes with Hercules.
When did work begin on this new album?
The first demos emerged in late 2016 on the heels of a side project called Hoarder with artist Joie Iacono. Work was done remotely at points on this album — specifically the mixing process with David Wrench — who I must say is incredible to work with. So talented, sensitive and thankfully, patient.
Did you approach the song creation process differently than how you’ve made music in the past?
Absolutely. I took to writing with the intention of creating sounds that evoked very different emotional responses. I used instruments to evoke rage, incredible longing and sadness, and disorientation. I wrote some songs with my voice leading the melodic exploration as well, rather than the piano-heavy take I felt most comfortable with. I worked with different time signatures and instruments that I had never incorporated before.
What kind of sonic differences were important for you to explore?
There are sonic extremes on the record. There are moments of real fragility and stillness. These are contrasted by heavy, pummeling, chaotic [and] distorted noise-oriented moments.
There was also a desire for an organic feel and a classicism and romanticism, which both [musician and former Siouxsie and the Banshees drummer] Budgie brought to the table, as well as the very sensitive string player and arranger Reinhard Van Bergen.
The new single, "One," features ANOHNI, a frequent collaborator of yours from the beginning. What about her artistry connects to the sounds and messages you hope to convey with Hercules & Love Affair?
ANOHNI music has always evoked great emotion in me. The songs, her voice, the daringness and courage to be vulnerable … It’s been influential in a profound way.
["One"] is the most punchy, dance floor-oriented number on the album. There is a nod to techno and it went through many versions. Budgie’s signature tom drums elevate the chorus in a very special way.
What is the songwriting process like between you and ANOHNI?
It has differed at different moments! She brought almost all of the lyrics and melodies to the table for her songs on In Amber. On the first album, it was more of a mixed bag. Some songs I had sitting around and she sang them (interpreting them, of course) and on others, she wrote words at times [or] melodies at others. Sometimes, she pushes and informs arrangements, too!
Thinking of your collaborators as a whole, how do you decide who you want to work with?
Some collaborations have emerged out of spontaneously meeting people. Others have come because a trusted friend might say, "You have to hear this." And at others, I have heard something or someone and said, "It would be a dream to do something with them." Sharon Van Etten is a great example of that last path to working with a collaborator.
You’ve described a desire recently to escape the well-worn tropes of electronic music. Which of those tropes were you trying to escape in making this record?
Well, the very respectable but straightforward aim at making people dance for one. Romantic love, heartbreak, partying. While not "celebratory" in a traditional sense, I feel this record celebrates the spectrum of human emotion, honoring more than the need to "feel" good.