I Love My Futon is the project of French musician Ludovic Thomère.
Since his 2017 single “Beluga”, Thomère has steadily released a string of brilliant singles and E.P.’s that channel aspects of shoegaze, electronica and psychedelia.
The projects latest release contains the tracks “At This Time Part 1” and “At This Time Part II” and both are nothing short of stellar.
I caught up with Ludovic to talk about his early musical influences, how he started playing music and the making of the new record.
Ludovic-As a child, around the age of 3 or 4, I loved the album “Chansons Pour De Vrai” by Jeanne Marie Sens. It was an enchanted and enchanting world, filled with stories of animals with humanized and childlike personalities — a connection through the heart. The album dates back to 1974, and the music reflects that era, oscillating between folk and pop, with drums, bass, electric and acoustic guitars, and what are now vintage synths like the string ensemble and Moog… so a richly orchestrated sound that really helped develop my ear — a beautiful journey.
I also loved a compilation of western music we bought at a market where I lived with my parents, featuring compositions by Ennio Morricone, Elmer Bernstein, Stan Jones… again, a whole cinematic world — vast open spaces.
As a teenager, I was completely captivated by Vivaldi, The Beatles, The Beach Boys, The Doors, Depeche Mode, The Cure, U2 — and a little later on, Echo & The Bunnymen, House of Love, The Jesus & Mary Chain, then Ride and My Bloody Valentine.
What draws me most to this music is the world it evokes, through both harmonic and melodic connections, the sound of the instruments, and the textural work behind them.
In my top 4 today — without ranking — I’d include Depeche Mode, Ride, The Cure, My Bloody Valentine… and baroque music.
CMM-When did you start playing music and writing songs?
Ludovic-I started learning to play music at 14, beginning with the guitar, and I began composing at 17 in high school with my first band.
CMM-You recently released a new E.P. called “At This Time”. What was the writing and recording process like and what was it like and what gear and instruments did you use during the sessions?
Ludovic-The production process for “At This Time” followed the same approach as my previous works — it took place over several months. With time and experience, I’ve learned to step back between each recording and mixing session. This allows me to listen with a fresh ear and quickly identify which details to keep and which to discard. Since I don’t go through a pre-production phase, this method helps me maintain an objective view on each track’s progress.
Surfing sessions also feed into my songwriting — spending time in the water is great for inspiration!
I work with a mobile home studio. I love setting it up in different places as well as at home — again, it reflects that idea of traveling and being inspired by wherever you are.
For “At This Time”, the idea of creating a vocal version and a longer instrumental version came out of sessions that alternated with surfing. You surf a wave — an energy that began thousands of kilometers away — and each wave is the continuation of the last.
The gear I used included: a MacBook Pro, Logic, a MOTU sound card, tube preamps, various condenser and dynamic microphones, Fender Jaguar guitars with single and humbucker pickups, a Gretsch guitar, a tube Marshall amp, vintage and modern effect pedals, and my voice.
For the final stage, I like to call on mastering engineers whose work and studios I admire. Since I work alone, I really value their contribution — they bring their expertise, talent, and personal touch to the sound, which is very fulfilling.
CMM-If you could do a score for any film director, who would it be and what would the film be about?
Ludovic-My favorite director is Akira Kurosawa. I would have loved to work with him on music — for that to happen, he’d have to return from the “Previous Heaven,” or maybe it will happen in another life!
I love the expressiveness and humanism inherent in his films — the fixed shots of faces and landscapes that allow us to see and feel the soul of the characters and places, and fully grasp the drama of the moment.
I’d like the film to be about the connection between the visible world and the invisible world, between incarnated beings and spirits — themes deeply rooted in Japanese culture through Shintoism. All of this would unfold through a contemporary story that abolishes the notion of space and time…
CMM-What do you have coming up next? Any new recordings or shows?
Ludovic-I plan to continue promoting the new EP “At This Time” and to start working on a new single soon. The idea is to gather the first nine or ten tracks and release them as a compilation that could serve as an album — a bit like what Ride did with “Smile.” I find that concept really appealing and exciting.
After that, I’d like to take the time to build a live set and hopefully book some shows…
