Two decades constitutes a geological epoch in the timeline of French avant-rock. That is the precise duration of the silence broken by Chevreuil. The duo of Julien F. and Tony C. has reactivated their unit for ‘Stadium,’ a double LP surfacing April 24, 2026, via the exacting curators at Computer Students™.

To frame Chevreuil as a rock band was always a category error. Since their 1998 formation at art school, the project operated more as a “sculptural device” rather than a typical ensemble. The methodology remains severe. Tony C. routes his “magnetic guitar” through four amplifiers arranged in a quadraphonic field. These encircle Julien F., whose 1976 Ludwig kit remains stubbornly unamplified. It creates a closed circuit. A physical confrontation between the players where the music is a byproduct of spatial tension.

“Music is a byproduct of spatial tension”

‘Tartarus,’ the first transmission from the album, signals a mutation in this architecture. Recorded in January 2025, the track reveals a reconfigured rig. The guitar has become a hybrid electro-acoustic engine, generating textures that wrap progressively around the dry, minimalist percussion. The bass guitar remains absent. Chevreuil builds strictly on reduction and repetition.

Dutch designer Bas Mantel provides the visual counterpart. His video for ‘Tartarus’ is a study in degradation, dragging archival imagery through the teeth of photocopiers and fax machines before digital reassembly. It’s a visual friction that mirrors the band’s obsession with magnetism, radioactivity, and astrometry.

As is standard for Computer Students™, the physical edition treats the album as a “fetish” object. Stadium arrives as a double 180-gram vinyl in a reverse-board gatefold. A Deluxe edition pushes the clinical aesthetic further. Housed in a sealed aluminum sleeve, it includes a 12-page codex listing every technical parameter and recording specification used in the studio. Total transparency for the audio obsessive folks like me.