DBFC mean every word. Striking out at the cynicism of the everyday, the duo – Manchester born David Shaw and Parisian Dombrance – seem able to cut straight to the heart of the matter. "What we sing about is the universal theme, which is love," David explains. "As corny as it sounds, that's in fact what we're talking about: tolerance and love." The duo met in 2012, drawn together by a Parisian underworld that flitted between techno and psychedelia, club culture and rock mythology. Refusing to place down boundaries, the two simply went into the studio, turned on their equipment and jammed – debut album Jenks followed naturally.
Reminiscent of Primal Scream's halcyon era, or New Order's ground-breaking run of 12 inch singles, DBFC thrive on the intersection between electronic and organic, on the communication between technology and common humanity. "The club is very important to us," says Dombrance. "For us, club music is more than about having a party; it's about having a way of life. It's a way of finding a bond between people. It's so tough today. The world is quite scary. And music, and that feeling of being in a club, changed my life."
At times, the heavenly elements of psychedelia in Jenks reach toward absolute bliss; at others, the Krautrock-tinged paranoia plummets into the depths. Title cut "Jenks" is an ode to a life-changing experience in a Blackpool club, while "In The Car" takes DBFC on a mystical road trip across a lonesome desert. "Autonomic" is the perfect single, an infectious fusion of dance abandon and clinical pop, whereas "New Life" is a simple, touching request for peace in a world increasingly beset by division, hatred and conflict.