Q&A: ARNAULT HARDY ON FINDING VULNERABILITY IN THE DANCE FLOOR
INTERVIEW
INTERVIEW
☆ BY DANY MIRELES ☆
FOR FRENCH PRODUCER ARNAULT HARDY, MOVEMENT IS MORE THAN JUST RHYTHM—His debut single “One After Another” unfolds through contagious beats and nostalgia, blending the warmth of lo-fi pop with the pulse of techno. Drawing from DJing in numerous cities, Hardy crafts music that invites listeners to dance and dream at the same time. What makes Arnault Hardy’s work so compelling is the philosophy behind it all. He is on a constant chase of organic and fresh music that allows accidents to become textures, imperfections to become invitations to the dancefloor, where people can look inward rather than to explore the outward.
Across his creative journey, Hardy embraces experimentation as a guiding force, letting small sparks, unexpected harmonies, and half-formed ideas into full sonic landscapes. His music favors emotion and the delicate tension between movement and introspection. In conversation with The Luna Collective, Hardy opens up about the organic accidents that helped shape his sound, the balance between feeling and flowing, and how he keeps his art in constant motion.
LUNA: Your debut single “One After Another” blends techno, pop, and house in a way that feels both nostalgic and forward-looking. What was the first sound or idea that sparked the song?
HARDY: The first sound that sparked the idea for this track was, on one hand, the little robot voice that finally appears in the third part; and on the other, a small Casio PT-1, which I sampled for many of the drum sounds. Then came the melody and with it, the idea of a nostalgic and lo-fi track that doesn’t let you linger too long in nostalgia, but instead pushes you forward, dancing into the sun!
LUNA: You mentioned that you want to make “light, fresh, and organic” music. What does “organic” mean to you in the context of electronic music?
HARDY: On one hand, I’m susceptible to sounds coming from the outside, whether from nature or elsewhere. On the other hand, I have a strong background with old cassette recorders, 4-track machines, and similar equipment, which I’ve often used to create warm, droning sounds. Working with these techniques always leads to accidents, crackles, and unexpected harmonics that, to me, feel organic—standing in contrast to perfectly digital, DAW-programmed music.
LUNA: How did your experience in DJing in cities like Paris, Stockholm, and Mumbai shape your creative vision for this song?
HARDY: When DJing in these cities, I have always had a sound that was a mix between electro-house, electro, and leftfield tracks. I have spun in many places where we could play this type of music, and not being conventional to the house scene, the techno scene, etc, so this track is a continuity in a way, as it’s not entering a clear category, got the melody from my love of pop music but the drive of a techno track.
LUNA: Can you tell me about your creative process in the studio? Are you someone who starts with melody, rhythm, or emotion?
HARDY: I have different projects, ranging from an indie pop band to more electronic and dance-oriented ones. The creative process varies a lot from one project to another. When it comes to my own work, I usually spend a lot of time in the studio experimenting. From these experiments, ideas emerge—a sound, a drone, a groove or a melody. It’s often something very small that catches my attention. I then add this little element to my personal catalogue of ideas and let it rest for a while. When I’m ready to start a new track, I pick one of these ideas and begin building around it. Most of the time, it starts with beats, drones, or ambient sounds. Melodies and arrangements come later. From there, it’s a back-and-forth process until the track feels complete—it can take anywhere from a few days to several months.
LUNA: You’ve said your music is “to dance but also to experience.” How do you find the balance between physical movement and emotional depth in your tracks?
HARDY: This is something I’m exploring in some of my tracks, yes. It’s based on the idea that the dancefloor doesn’t necessarily have to be hysterical, ultra-fast, or overly happy, with those huge and predictable drops. I like the idea of a dancefloor where people can turn inward, be more sensitive, and enjoy melodies in the same way they would in a pop or melancholic context. To create that, I use my own track structures, which can sometimes be challenging for certain DJs. I place a strong focus on melodies and arrangements, and I try to craft beats that aren’t just the standard 4/4.
LUNA: The title of the song suggests flow and maybe repetition. What does this title mean to you conceptually?
HARDY: This title, to me, reflects the idea of marching—moving a bit fast—which is how I generally am. Always moving forward, one step after another, staying in motion, taking positive steps toward new adventures in life.
LUNA: How do you know when a track like this is complete, when it feels right?
HARDY: I know a track is complete when I feel emotions while listening to it in the studio. It often takes a while to reach that point. Once I do, the rest is just about refining—removing or correcting the things I hear that don’t feel right.
LUNA: You’ve worked in many cities, but is there one place that you feel has defined your sound more than others?
HARDY: It’s true that I’ve lived and worked in different cities across Europe, but I think most of my influences come from the UK—a place where I’ve actually never lived. I’m still hopeful that it might happen one day! I have a deep passion for artists, musicians, and DJs from there.
LUNA: Were there any specific memories or emotions guiding you during the production process of this track?
HARDY: Not specific memories, but a vision—a man walking with quiet confidence and creative spirit, under a bright sun, following a path that leads him elsewhere.
LUNA: And lastly, what is next for you? Should we expect an album, more songs coming, or a tour?
HARDY: In November, we’ll have a very limited vinyl release featuring the tracks and three remixes. These remixes—made by my friends Noaria, Da Ron, and Manu Dannenberg, all great electronic artists—will be available on digital platforms in January. I also have an EP coming out in the first half of next year with Dot Dot Dash, an indie pop band with friends from London and Stockholm. In addition, Da Ron (which I´m part of) has remixed a track by the band DOP, which will be released next year. Finally, I’m working on an EP of my own for 2026 and an album planned for 2027.
