Listen to the new version of the track here.
Acclaimed alternative jesters, Faux Real are excited to share the Wet Leg remix of the fan-favorite single, “Walking Away From My Demons.” Consistently a highlight in their live show, Wet Leg reimagines the track into a whole new sonic experience.
"After we opened for Wet Leg on their first US tour in the fall of ‘22, we became fast friends. So when the chance to collaborate came up, it just felt like a no-brainer,” Faux Real explain. “Rhian’s deadpan verses play perfectly against the frantic energy of Josh’s nightcore rework, giving the clubby beat this cool confidence—‘I walk around my neighborhood, you’re looking down, I’m looking good’—like finally taking control over the title’s demons. Sometimes, the only way to shake off feelings of inadequacy is to just get up and go, however underprepared. Sow, reap, repeat.“
Known far and wide for their genre-bending, gravity-defying live performances, Faux Real – a.k.a. Los Angeles-based Franco-American brothers Virgile and Elliott Arndt – are currently bringing their singularly flamboyant and creatively daring live show to clubs across North America with their eagerly awaited North American headline tour, with a March 1 finale in New York City at new hotspot, Night Club 101.
“Walking Away From My Demons” is but one of the many highlights found on Faux Real’s acclaimed debut album, Faux Ever, available everywhere now via City Slang Records. Hailed by The Guardian as “a high-camp, whimsical collage of Euro-dance, perky Joe Jackson-era synthpop, Sparks-sized harmonies and melodrama, plus post-punk, electro, glam rock and more,” the album includes such singles as “Full Circle,” “Hi Tension,” “Love On The Ground,” “Rent Free,” and “Faux Maux,” all of which thrust Faux Real’s sultry, surreal, and unclassifiable sound towards a glossier pop horizon, favoring ultra-digital software instruments while showcasing their long-standing knack for hugely catchy vocal melodies.
FEBRUARY
25 – Detroit, MI – Lager House
26 – Toronto, ON – The Baby G
27 – Montreal, QC – Cabaret Fouf
MARCH
1 – New York, NY – 101 Ave A
6 - Cologne, DE - Bumann & Sohn
7 - Paris, FR - Le Trabendo
8 - Luxembourg, LU - De Gudde Wellen
10 - Hamburg, DE - Hafenklang
11 - Copenhagen, DK - Loppen
12 - Berlin, DE - Kantine am Berghain
14 - Brussels, BE - Atelier 210
15 - Amsterdam, NL - Paradiso Upstairs
18 - Brighton, UK - Green Door Store
19 - London, UK - Scala
20 - Leeds, UK - Belgrave Music Hall
21 - Manchester, UK - YES Basement
22 - Glasgow, UK - The Flying Duck
Elliott and Virgile Arndt founded Faux Real in 2018, blending post-punk, glam rock, and fresh beats to fashion a truly inimitable musical experience. From their increasingly accomplished studio output to mesmerizing, unprecedented live performances, Faux Real invite the audience to join them an enthralling post-realist expedition through contemporary pop culture with razor-edged satire, inspired boy band choreography, and a charged sensuality that has fast earned them a fervent fan following that includes among their number such iconic stars as Duran Duran, Paramore, and Wet Leg. Now, with Faux Ever, Faux Real continue to gleefully ignore boundaries and barriers, assuring the journey is as exhilarating as the ultimate destination.
Faux Real celebrated the arrival of Faux Ever with a seemingly non-stop international live schedule that includes dates in the UK, Europe, and the US. Highlights include a variety of festival appearances, a special show supporting cumgirl8 at Paris, FR’s La Station (May 29), an EU/UK run alongside instrumental British quartet (and City Slang labelmates) Los Bitchos, and sold-out US headline performances at Brooklyn, NY’s Baby's All Right and Los Angeles, CA’s The Echo. In addition, this summer saw the duo featured on electropop icons Metronomy’s “Contact High” alongside Franco-Korean artist Miki. “I can’t detach myself from the song,” said Metronomy’s Joe Mount of the collaboration, I hear ‘Contact High’ and I think ‘wow I’m involved with this!’ I can listen to it again and again.”
Photo credit: Daniel Everett
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