Some bonds are forged by fate, and Exit Eden could very well be one of them. A band currently consisting of Clémentine Delauney, Marina La Torraca and Anna Brunner, each have accomplished in the Heavy Metal world that follow them into the project. Success they should be proud of, together in Exit Eden they form a force that checks all egos at the door with the music being the most important aspect.
A rare thing to see in this day in age, Exit Eden are a unique group of ladies who initially emerged in 2017 with the album Rhapsodies in Black. A collection of select covers of well-known and less obvious Pop songs, they immediately struck the attention of Rock and Metal fans the world over. Now returning in 2024, they offer their sophomore album Femmes Fatales with a balance of exciting covers as well as well-drafted originals. Growing as a unified band, but also as friends, Clémentine Delauney recently sat down to talk about her entry into Exit Eden, the relationships forged between the members, the new album Femmes Fatales, the careful planning put into everything they do, plus more.
Cryptic Rock – Exit Eden is a relatively new and interesting project. Before we dive deeper into things, tell us, how did Exit Eden come about for you?
Clémentine Delauney – Well, I had a chance where I played a concert at Wacken with Kai Hansen. A friend of someone in the environment of the birth of the project saw the concert and suggested my name; because he liked my performance. I arrived there knowing nobody, but recommended by someone.
Right away, I met with Anna and Marina on the day I was going to the studio to record some demos to see how our voices would blend together; because before you really try, you cannot really say how it will work. That was it! I was like, “Oh my God, those girls are so nice and so kind. It would be wonderful to do something together for real, to be together, and to get to know them more.”
That’s how it started. In Hamburg, Germany, the three of us immediately went to a Christmas market. Amanda was not there at that time physically, but we had an amazing time together.
Cryptic Rock – Wow, it is really interesting how it all came together. Now, Exit Eden recently returned with their second album, Femmes Fatales. The group is now composed as a trio since Amanda Somerville bowed out. Was that difficult for you to go on as a trio?
Clémentine Delauney – Well, we had some time to get used to the idea; because the moment she got pregnant she told us that she would not be sure to go on. Being a mother again is something that can absorb your entire energy and attention. Then when she got twins, it was even worse, but in a good way. But as far as her commitment to the project… she didn’t want to do things halfway. So, she decided to let it go.
The three of us, of course we knew it’s going to sound different, and there will be people who are going to be disappointed that she’s not there anymore. However, it’s a luxury for a project to have three vocalists… it’s already kind of a luxury to have two. We thought that it’s also a way for each of us to have a bit more room to explore the sound for Exit Eden differently and to still do something. It’s not because the recipe is different. It’s not because we were not four that this couldn’t work out musically speaking at all.
Cryptic Rock – Understood. Historically, we have seen female vocalist groups in the R&B genre for example, but we have never really seen a female vocalist group within Metal. So many classic Motown and R&B female singing groups can be thought of, but you never hear about female Metal singing groups. Was the concept something that also attracted you to the project?
Clémentine Delauney – Yeah. To us it was a nice crossover of genres; especially because we were also covering Pop songs. It was like a super group with just four women covering Pop in a Symphonic Metal style. On paper, the idea was super cool. I love crossovers and when boundaries get expanded, when worlds blend, everyone gets the influence of everyone else and you feel like it’s flowing. I really like that. That was very attractive. That’s one of the reasons why when I was talked to about that project, I was immediately in.
Cryptic Rock – Yes, it definitely is attractive and interesting. Speaking of the songs you have covered over the last two records; you picked some interesting selections. Obviously, are more obvious selections, but some are more obscure. What led it to the selections of songs?
Clémentine Delauney – We were not part of that conversation either on the first album or neither on this new one. It was really the producer and the label having their vision on what Exit Eden is about. You have those click baiting, big mainstream songs that are going to attract people because they know it, and they’ll be curious to hear that new version of “Poison” or “Separate Ways” or “Total Eclipse of the Heart.”
If we would make an album just of that, it would be a little too superficial and a little hollow. We loved that they also wanted to go for surprises and for bands and songs that are less obvious. Some people were like, “You covered Marillion, really? And what is with the Pet Shop Boys? Also, that French song on Femmes Fatales called “Désenchantée.”
I love that Exit Eden is on a safe ground on some aspects, but risk-taking on some others. I think it makes the whole thing rich, complex, but still very, as you said, a very fun listen.
Cryptic Rock – Absolutely. It is those obscure listens that perhaps attract a little bit more of a deeper music fan, per se. Like you said, there are those more mainstreams, but those are also excellent as well. This new album, Femmes Fatales is a little bit different for many reasons. One, you are a trio now, but you also have original songs in here too, which is exciting. An album half and half of originals and covers, what was it like for you recording this album?
Clémentine Delauney – Yeah, to me, since I was not at all involved in the songwriting process; which was not the case for Anna and Marina. It felt very coherent, because I was singing someone else’s song anyway. For me, switching from “Poison” to “Femme Fatal,” from “Dying in My Dreams” to “Désenchantée“ was like, “This is not my music coming from the core.” When I do write stuff for myself or for Visions of Atlantis, it’s completely different… which I also love. It’s very refreshing.
Femmes Fatales felt like it was a whole cohesive, coherent album. I couldn’t tell so much of a difference in production and in quality of songwriting from our originals to the covers; because it’s also done by one person. It’s a very big, nice unit. It was wonderful for me to do that.
I guess it’s different for Anna and Marina, who also took part in the songwriting. They must have a completely different approach to the music. For me, it’s very chill. I love all the songs, no matter what they are.
Cryptic Rock – Well, the originals and the covers all work well on this new album. You have released several music videos for the first album and this new album. What is really interesting is the taste and selection of wardrobe for your music videos. It really does stand out and is eye-catching. Is that something you have a part in?
Clémentine Delauney – Thank you. I take it as an absolute direct compliment, because I had the chance to be in charge of the entire visual direction for Exit Eden for this new album. From the photo shoots to all our videos… I was setting up the mood boards. Of course, the girls have their own personalities.
For instance, when it comes to “Femme Fatale,” Marina has wanted a more Latino vibe, and Anna wanted to keep her Rock-n-Roll attitude. I wanted to embrace my roots being French; with a bit more classic elegance in there. The three of us worked together to find pieces that would match the theme and the concept of the song and the video, but also respect who we are and would feel comfortable.
I wanted each song to have a specific variation of what a Femme Fatale could be. In “Run!,” we’re in the fates from the mythology. In “Separate Ways,” we’re witches. In “Femme Fatale,” we’re obviously Femme Fatale. (Laughs) The fourth video (that is going to be released in the next couple of weeks), is a little different. This is the one that will get a little bit out of the concept of Femme Fatale and what we’re depicting in that video. It’s still another completely different wardrobe and a completely different approach visually. And it was a lot of fun as well.
Cryptic Rock – It is great to hear that you were a part of all the design. It definitely stands out; you are doing a fantastic job. It is nice to see something different in a time where everything is very the same, and it works. Did you have part in the design of the wardrobes as well?
Clémentine Delauney – Thank you. Well, not in the sense that these wardrobes; they were not designed for us. We worked with the stylist for the photo shoots, but we created mood boards and used Pinterest to show examples. We created our color themes for all of us. The trend, like my persona as a femme fatale, was that timeless French classy elegance. Marina was more Dolce Gabbana, sensual, Latina; because she’s from Brazil. Anna wanted to keep the Rock-n-Roll.
So, none of the pieces were done, except for “Run!” The big outfits we are using in “Run!” have been handcrafted by Kami Zero. Kami is an amazing makeup artist and designer. He created those outfits based on a mood board where I was showing flowing dresses and outfits in the wind; because I wanted that we are this mystical, almost non-human being. For the fates from the mythology, I don’t want them to wear like a gown that you couldn’t find somewhere else.
Then for “Femme Fatale,” we shopped individually. We were sharing influences and all of the pieces we would find to create looks that would match the concept. For “Separate Ways,” we found an amazing store run by girls that have their own Bohemian style. We found the white and the black dresses there. We all have a different black dress that fits our body type better, but we all wear the same white in that very last scene.
These are all ideas that came out for me from the start of what I wanted to depict. Then we made sure we could find the best piece of garment. Having everything custom-made takes so much time and energy that was not always possible.
Cryptic Rock – Very compelling! There was a bit of a gap between the first Exit Eden album (2017’s Rhapsodies in Black) and Femmes Fatales. That said, can you see the project continuing on beyond this latest release?
Clémentine Delauney – I do believe there is a desire, first of all, from the label to go on. It would really be based on the final sale numbers. They are a record label; they want to sell records. I don’t want to talk too early in assuring that there would be a future… because that is absolutely not in my hands. I think I’ve heard that they want to try to put us on stage next year.
If that is starting to be in discussion, then I guess that the investment they put into Exit Eden is a long-term thing rather than another one shot with this second record.
Cryptic Rock – That would be great to see. Now, you know going back to your point about working with more than one singer. You cannot just throw people together and expect it to work. There is obviously chemistry with the three of you. How has that chemistry developed as time has gone on?
Clémentine Delauney – Well, you can throw people together and it would work if, and only if, everyone is on the page that this is going to be a professional environment and if everyone agrees on the vision. You can be very different individuals, have completely different beliefs and opinions on stuff, but if you’re gathered for a specific mission, and you’re all in the right mindset and you’re professional enough to put your differences aside or not to even raise them… then you can work together, I believe.
With Exit Eden, it didn’t start with that exact mindset, because we were also younger. It was more like – the four of us were genuinely kind and genuinely wanting to do a good thing. There is no person with the ego first, or no person with an attitude first. It’s people who are like, “Okay, let’s sing a song. Let’s sing it the best we can.” It’s girls that have developed their voices on a professional level and that have been in different various professional environments. They’re serious with their performance. We met with that seriousness, that desire to do things right and to do them great.
Then there was this genuine kindness that made us open to each other’s perspective, feelings, condition, and without judging each other for a second. So, we developed a very strong feeling for being a team, and we can say everything to each other and respect also who we are in our performance, in our art, and back up each other when it’s needed.
It’s a wonderful experience. So many people are like, “Oh, my God. Three girls, three singers, it must be a constant catfight.” I’m like, “This is reducing girls’ interactions to an absolute horrible cliché that doesn’t have to be.” We’re the perfect example of that.
Cryptic Rock – Well, it sounds like everyone is coming from a genuine place. It is refreshing to hear in a culture where it seems like narcissism is the way. It is nice to be that it is about the art and the relationships you have built together.
Clémentine Delauney – Absolutely! This is the keyword of a lot of the issues we’re facing right now, I think. No one is able to perceive the world outside of their own schemes, patterns and definitions. I’m sorry about that; because it makes us unable to connect. You cannot connect with a narcissist.
I was glad that within the Exit Eden world, none of that was there. I think it wouldn’t have worked. This is where it wouldn’t have worked, for sure.
Cryptic Rock – Right. It gives hope for humanity. Like you said, it is the problem that plagues us on so many levels. It is nice to have that musical connection as a listener, but also as the artist as you are creating it.
Clémentine Delauney – Yeah, I think it saved the project at some point that we were tight as people. As friends, actually.
Cryptic Rock – As someone who has worked outside Exit Eden, obviously with your own band Visions of Atlantis, as a singer and a songwriter… what are some of your musical influences?
Clémentine Delauney – Oh, wow. It’s a vast question because I’m happy that I’m not aware of my influences. I think they would be in the way of who I try to be as an artist. As an artist, I think the worst thing is to feel that you’re not being your true self. Or, I think that the day that you just want to imitate someone… that this is just not what art is about. My influences I think work on me unconsciously.
I, as an artist, try to get free from influences. To the point where I pay very much attention to what I read and what I watch when I’m in the writing process of Visions of Atlantis; because it does subtly influence my thoughts, my opinion of the moment, my feelings for some things.
I read a very dark pirate book recently. I felt how it brought a difference, it highlighted my piracy world in a different way and gave it a different flavor. I I felt it when writing that there was a different vibration in my creative world. As much as I would like it for nourishment, I don’t like it to be obvious; because then this is where you no longer know if you’re doing pure creation or not.
This is actually the whole artificial intelligence debate. It’s also a real question. Can we create from nothing? It has been done because life started from people say from the Big Bang – which means there was nothing before, but it’s very hard to tell.
My influences are very vast musically. I love a lot of epic instrumental music. I love a lot of Classical music and modern classical music. Then modern artists in the metal genre. Sleep Token was a big thing from last year. I listened to it, and I feel this is interesting as a musician to listen to. It’s breaking up borders between bands and genres. It’s not catchy. Exit Eden and Sleep Token probably are the absolute opposite in the Metal world in some areas.
Those are things I love to listen to as a musician; because it still shows you what can be done. At some point you sometimes feel like – everything’s been done. You feel, every melody’s been written or every arrangement has been thought through. They already have bands with saxophone and Metal. How can you still try to bring something new there? Then you have Sleep Token coming in telling you, “I can. Look.” (Laughs) You may or may not like it, but that’s not the point. I like those bands that still bring something new.
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