Marie Langlais has been building the Grand Bleu project from Paris with a clear sense of what she wants her music to feel like, and her debut EP makes that vision hard to miss. Released on French imprint , Alive / Slow Motion arrives as a two-track statement that moves between forward momentum and introspective drift, with Marie’s own French-language vocals threading an emotional honesty through both.
The EP follows a period she describes openly as darker and full of doubt, and that raw material is exactly what gives the music its weight. “Alive” processes disconnection and quiet fading through a lens that somehow still lifts. “Slow Motion” goes further inward, letting the listener feel time stretch. Both singles introduce an artist who treats the studio as a place to work things out rather than simply make tracks for the dancefloor.
The release comes at a genuinely busy moment. Marie has been out on tour supporting Mosimann, including a debut Ibiza appearance at Cova Santa in May, with festival dates at Natif and Crossover Summer ahead. A collaboration with Mosimann, a rework of the Visage classic “Fade to Grey,” was released on March 26.
In this interview, Marie speaks with House Nest about the stories behind Alive / Slow Motion, singing in French, her creative partnership with producer Matt Waro, life in Paris and La Rochelle, and what the rest of 2026 holds for Grand Bleu.
Hi Marie, thank you for joining us today. How are you doing, and where are you currently based?
Hi! Thanks so much for having me. I’m really happy to be here. I’m doing great, honestly. I just got back from a gig in Brussels, and I’m still riding that post-show energy. Plus, my debut EP, Alive / Slow Motion, came out a few days ago on Labo.T, so it’s a pretty exciting moment.
I’m based in Paris, in Le Marais, but my heart also belongs by the ocean in La Rochelle, where I escape whenever I can. That contrast between the two, the city’s energy and the sea, really feeds into my music.
Let’s talk about your recent release, Alive, which came out on the French imprint Labo.T. How did the tracks come together, what inspired them, and why did you choose to release them through the label?
I made these tracks in the studio, and I really wanted to create something atmospheric and emotionally driven, something that felt like it was floating but still had real depth underneath.
The two tracks complement each other. “Alive” has more forward momentum, while “Slow Motion” is exactly what the title suggests: a track that lets you breathe and lose yourself a bit. I wanted listeners to feel transported, whether they are on a dancefloor at 3 a.m. or just driving at night.
As for Labo.T, when I sent them the demos, I immediately felt there was a real dialogue. They did not just respond to the music; they wanted to know more about me and where I was coming from as an artist. That kind of human connection is rare, and it made the choice obvious. They genuinely care about the artists they sign, and you can feel that in everything they put out.
On “Alive,” you recorded your own vocals, and they add a very personal touch to the track. The lyrics are in French. Can you share what you are singing about in the single?
The lyrics go: “Le silence me sert, j’oublie où je suis, le monde bouge, je dérive, je ne sais plus depuis quand, je m’efface lentement.” Roughly translated, it means: “Silence serves me, I forget where I am, the world moves, I drift, I don’t know since when, I’m slowly fading away.”
I wrote this during a darker period in my life, a moment when I was dealing with a lot of doubt and felt disconnected from everything around me. The track became a way to process those feelings and put words to something I could not really explain otherwise. There is something cathartic about turning those emotions into something you can dance to, or at least lose yourself in.
Singing in French was a very intentional choice. It is my language, the one I think and feel in, and I wanted that authenticity to come through in the Grand Bleu project. I have done it before on previous tracks, and it always feels more honest to me. Even for listeners who do not understand the words, I think the emotion still comes through.
The single feels very emotional, with its progressive arrangement and uplifting melodies. Was creating that atmosphere something you intentionally aimed for?
Yes, absolutely. That intensity is something I always chase when I’m producing. I want my tracks to build emotionally, with melodies that arrive during the breaks and then fully explode at the drop.
I want the listener to feel like the melody is coming from behind them, lifting them and pushing them forward, giving them energy, drive, hope, or whatever they need in that moment. That is the feeling I am always trying to create: music that does not just play in the background, but truly takes you somewhere.
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“Slow Motion” also has a strong storytelling quality through its melodies and detailed sound design. Can you talk a bit about the creative process behind that track?
Sound design is one of my top priorities. I take time choosing every instrument and melody because I am always searching for a sound that truly feels like me, something with its own signature.
The lyrics are simple, but they carry the whole intention of the track. I wanted to stay in that melancholic and introspective space, where the listener can almost feel time slowing down around them.
I chose to write this one in English because I wanted the words to reach as many people as possible, so anyone, anywhere, could connect with the track. French and English each bring something different, and I like having both languages within the project.
You recently joined Mosimann on tour as a support act. How did you prepare for those shows, and what did you want fans to experience from your sets?
The idea was really to showcase my project by playing my own original tracks. I built the set as a journey, starting with an intro to set the mood, then taking the audience through different emotional textures, and closing with “Terminal 2F,” one of my most emotional tracks. It is the kind of ending that leaves the room suspended for a moment, which is exactly what I wanted.
Joining Mosimann on tour is a huge milestone for me, and I wanted every set to feel like an invitation into my world, for the audience to discover Grand Bleu, but also to genuinely feel something. Not just dance, but be moved.
You also released a collaboration with Mosimann titled “Fade To Grey.” How did that collaboration first come together?
Honestly, we had the idea a few years ago, and like a lot of projects, it just stayed on the computer for a while, you know how it goes.
Mosimann and I have known each other for about five years now. He gave me my first real opportunities early on, letting me play at some of his shows, and we have been part of the same world ever since. So when we finally came back to that idea, it felt very natural.
“Fade to Grey” is a cover of the Fade to Grey classic, with our own vocals on top. The idea was to take that iconic track and turn it into something more club-oriented and techno-driven, keeping the emotional DNA of the original but giving it a completely different energy on the dancefloor.
Now that the tour has wrapped up, how have you been balancing downtime with staying creative and productive in the studio?
My next date is actually coming up on May 16th in Ibiza, which is a first for me and something I am really looking forward to. So the tour is not fully behind me yet.
But in between dates, I prefer being at home to work, especially in a calm environment with my dog Jim by my side. That is where I am most creative. I work in the studio with Matt Waro, a producer I really trust. We spend a lot of time listening to tracks together, sharing references, and exchanging ideas, and that back-and-forth is essential to my process.
Touring definitely feeds the studio work as well. Every set and every dancefloor reaction teaches you something about what works and what you want to explore next.
Outside of music production and DJing, what does your day-to-day life look like?
Outside of music, sport has always been a big part of my life. I used to coach cycling for years, so movement is something I genuinely need every day. I take long walks in the Bois de Vincennes with my dog Jim, who is basically my shadow, and I escape to the ocean whenever I can.
Mental balance is really important to me, so I try to avoid crowds as much as possible. I prefer quiet mornings, grabbing a coffee in Le Marais during the week when the city is still calm. I am always looking for that sense of tranquillity and space to recharge. When your job involves loud rooms and constant energy, you really need to protect those quiet moments.
What are your plans for the summer season? Can fans expect any new collaborations, performances, or surprises?
The summer is shaping up to be really exciting. My next date is on May 16th at Cova Santa Ibiza with Mosimann, which is a huge first for me. After that, I will be playing at Natif Festival and Crossover Summer, among other festival dates, and I cannot wait to bring my project to those stages.
On the release side, I have a new track coming out on Pyro in June, which I am really proud of. Beyond that, I am staying focused on studio work. There is a lot more music in the pipeline that I am not quite ready to talk about yet, but the rest of the year is going to be busy.
So basically: more performances, more releases, and hopefully a few surprises along the way.
Support the artist and buy “Alive / Slow Motion” here
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