Grant steps in to discuss his new Theory Of Movement collaboration with Dan Piu, coming via his own When The Morning Comes imprint

Theory Of Movement is the collaborative project of Swiss producer Dan Piu and French producer Grant, two artists whose shared passion for classic House and Deep electronic sounds has earned them widespread respect across underground electronic music circles. Through a series of acclaimed releases, including Parade Musicale, the Structural EP, and a now very rare self-titled 3xLP, the duo have cultivated a distinctive sound rooted in deep atmospherics, intricate grooves and the timeless spirit of 90s dance music. Now, they return with a new EP on When The Morning Comes, once again showcasing the warm textures, hypnotic rhythms and understated craftsmanship that have become synonymous with the Theory Of Movement name.Leading is ‘The Geometry of Leaving’ a hazy deep house excursion through dreamy chords, bubbling arpeggio melodies, shuffled, dynamic drums and intricately evolving sub bass grooves. ‘Suspended Motion’ then follows with a robust, saturated rhythm section, a jazzy bass line, cinematic strings and ethereal pad textures.The ‘The Distance Between Things (Acid Mix)’ then opens the B-Side, as the name would suggest, fusing rave via squelchy 303 licks oscillating and unfolding throughout alongside crisp beats and hazy pads. ‘The Quiet Interval’ concludes and edges things into more classic Chicago House territory via twinkling piano keys, bouncy bass stabs and airy chord sequences which all intricately evolve and unfold alongside raw breaks and bright strings.

Theory Of Movement has always felt like a project with a very clear musical identity. How did you and Dan Piu first connect, and what was it that made you realise you shared enough common ground to start making music together?

We first got to know each other around twelve years ago, when I contacted Dan about an old track of his from the ’90s called “Breakdance 1965”, which I re-release on my label.
Dan, in turn, already knew me through my productions. What started with a forgotten track from the ’90s soon developed into a great collab and a friendship that has lasted to this day.

There’s a strong sense of 90s House and Deep House running through Theory Of Movement, but the records never feel overly nostalgic. When you’re working together, how conscious are you of those influences, and how do you keep that language moving forward rather than simply recreating the past?

We’re both lovers of old-school Deep House. That’s really where we found each other musically, and because of that we understand each other almost blindly in the studio. We both lived through that era as clubbers and DJs, so of course those influences are deeply rooted in what we do. But it’s always important for us to bring our own personality into the music. I think that’s why it feels inspired by the past without ever sounding like we’re simply trying to recreate it.

This new EP moves through several different shades of House, from the hazier atmosphere of ‘The Geometry of Leaving’ and ‘Suspended Motion’ through to acid and more classic Chicago influences on the B-side. What was the thinking behind the record, and how did these four tracks come together as one body of work?

These tracks grew out of a few sketches and ideas we already had sitting in our shared archive. We have quite a lot of unfinished material there, and whenever we’re short on time or inspiration, we like to dig something out and see if we can bring it back to life.
That’s probably why the EP moves through different shades of House. It wasn’t really planned, it came together naturally. Once we started working on the tracks again, we felt they shared a certain mood despite their differences. We like that contrast, and it reflects the different sides of our project.

You’ve chosen to release the EP through your own When The Morning Comes imprint. What prompted you to start the label in the first place, and what does it allow you to explore that perhaps wasn’t possible through the other labels you’ve worked with over the years?

Putting music on my label means full creative control on the music selection and artwork and no pressure on deadlines ( that’s also why it can take so long between each release …. ) the label was created to have a platform to put out music by my close friends  who’s music I respect and myself .

When The Morning Comes is a particularly evocative name for a label. Where did it come from, and is there a particular mood, time, place or feeling that you want the records on the imprint to represent?

Well every person who spent a part of there life on a night outs getting lost in the music , lived that magic moment when suddenly you transition from night to the morning , there is something a bit mystical and magic . So I thought the name would be fitting for a label where I take time to curate the release and try to make each record special 

Your own history stretches across a number of different projects and collaborations, with Frank & Tony becoming especially significant over the years. Looking back, how has your approach to making and releasing music changed from those earlier records to where you find yourself creatively today?

To be honest the main  thing that changed was taking independence and release most of my music on labels I have owned or been partners in . After a few years of sending demos and releasing on various labels , I guess with maturity it seemed natural to mostly only put out music on label I had a say in to have full creative control . Besides that it is still the same as day one , no plans when I get in the studio I just plug in the machines  and see where It goes

You’ve spent a long time operating within underground House music, during which the way people discover, consume and even value records has changed considerably. What still excites you about the culture today, and are there elements of the scene or the way records were approached in the past that you feel are worth preserving?

I definitely was lucky enough to live through major shifts in the industry and  that shaped me and still does . I don’t really pay attention to what’s in or the new trend . I am in my own little bubble and make the music that speaks to me , if I manage that , it is all that matters .

With Theory Of Movement active again and When The Morning Comes establishing its own identity, what does the next chapter look like for you? Are there particular artists, collaborations or directions you’d like to explore through the label and your own music over the coming years?

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0 plans , 0 commitment, 100 % free and loose to just let the music speak for itself , anything worth putting out will dictate  further releases , 100 % freedom 

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