Artist
Miaoux Miaoux
Nottingham, United Kingdom
Miaoux Miaoux is a music group from Nottingham, United Kingdom.
Biography
Julian Corrie built Miaoux Miaoux by burying himself in the hardware of his Glasgow bedroom studio. He wasn't chasing a band dynamic; he was chasing the perfect interaction between polyphonic synths and a high-gain guitar. It’s the sound of a one-man production house making maximalist pop that sounds like it cost ten times the actual budget. The Chemikal Underground signing was the seal of approval he needed. That label doesn't sign fluff. Corrie’s obsession with precision meant every kick drum and synth sweep had to earn its keep. He proved that a solo producer could bridge the gap between sweaty dancefloor kinetics and high-concept indie songwriting without losing the grit.
Influences
- Prince — Corrie has explicitly cited Prince as the ultimate template for the multi-instrumentalist auteur. You hear it in the way he stacks vocal harmonies over funk-driven basslines on tracks like 'Luxury' and 'Autopilot.'
- The Notwist — In documented interviews, Corrie pointed to 'Neon Golden' as a blueprint for marrying organic instruments with glitchy electronics. The tension between the melancholy lyrics and the driving, synthetic pulses in his work mirrors the German band’s 2002 peak.
- Daft Punk — The French duo’s influence is undeniable in Corrie’s approach to vocoders and filter sweeps. He’s noted their ability to make electronic music feel human and physical, a direct line to the heavy side-chain compression on his earlier singles.
- Phoenix — Corrie shared a label stablemate history with various indie-pop acts and has praised the French band's tight, economic songwriting. The bright, sharp production style on 'School of Velocity' shares the same DNA as the 'Wolfgang Amadeus Phoenix' era.
- Caribou — Corrie has referenced Dan Snaith’s evolution from folktronica to dancefloor-focused house as a major inspiration. This lineage is clear in how Miaoux Miaoux shifted from the more experimental 'Bloom' era into the direct, club-ready rhythms of his later work.
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