Premiere: Remi – Telephone Call

When asked about the visuals currently released on Peoples’ YouTube, he explains that himself and his frequent collaborators are extremely particular about many aspects. Lighting, for example, is carefully planned ahead of time, with filters applied to all the bulbs in their studio for the filming of Rose Royce, or fellow member Sans’ insistence on the glow of orange streetlights for 1up. Other times, things seem to fall into place. From riding round the streets of London at night until finding themselves stopping next to a certain poster, or meticulously planning a documentary for a future gallery booking, Peoples embrace fate and design in equal measure. Remi’s ambitions extend past music and into other mediums for his art – invading the home with eye-catching posters, or the wardrobe with quality garments. Music, he says, is not his end point: ‘I don’t want to still be rapping in two years’. There is a promising gap in a packed London for a talent house that scouts the best in people, detached from flawed ideas of realness, and Peoples may be just that group.

Peoples, by name alone, has representation and mentality at their core. The appeal comes not from making a trend, but from an all-encompassing way of thinking. Realness isn’t part of the equation as far as Remi is concerned. He spends a lot of time thinking about what sort of fanbase he would want, and has decided he wants a following for perspective. On both an aural and visual level, Peoples is bringing this perspective with them, but their hindsight tells them the wake is as important as the wave. Peoples is a house on the rise, with a foundation in sight, but the house has to be built first. For now, we will have to wait. (Louis Jani)


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