Parisian producer Notre Dame returns today with Haunted Nights, a three-track EP released on his own Paranormal Society label. Following this summer’s Recollection record, the new project continues to expand the imprint’s sonic identity, balancing groove and atmosphere while capturing the magnetism of late-night culture.
From punchy rhythms to shadowy melodies, the record translates the blurred emotions of the dance floor, where intensity, intimacy, and fragility intertwine, into a vivid soundscape designed for both peak-hour moments and after-hours reflection. The release crowns a career-defining year for Notre Dame. His official remix of Timbaland & Nelly Furtado’s Give It To Me with Adriatique has become a global festival anthem, while a return to Solomun’s Diynamic label reaffirmed his deep ties to the imprint that first championed his work.
With Haunted Nights, Notre Dame not only strengthens his reputation as a versatile producer but also advances Paranormal Society’s mission to create a space where sound and storytelling move as one. We spoke with him a few days ago about his breakout year, the new EP, and his upcoming US debut.
How are you doing, and where are you answering us from today?
I’m doing well, thanks! I’m in Paris right now, at the studio, putting the final touches on a new EP.
Haunted Nights arrives via Paranormal Society. What kind of mood or story were you aiming to capture with these three tracks?
I truly wanted to capture that blurry, in-between feeling of the club, when it’s late and you’re caught between euphoria and melancholy.
The release explores different shades of late-night energy. Do you see the EP as one continuous narrative, or as individual moments connected by a common thread?
The three tracks balance power and intimacy, showing how a night can shift from intensity to reflection. It’s really about capturing the full spectrum of what a night out can feel like. Each track plays a role in that story: moments of tension, moments of release, and others that feel almost like a confession. It’s about desire, fatigue, romance, and ghosts of the night.
You’ve said you often draw inspiration from sleepless nights and the unique atmosphere of clubs. What is it about those hours that makes them so creatively powerful for you?
It’s really the atmosphere; everything feels heightened at those hours. The music is louder, emotions are stronger, and people show a side of themselves they don’t during the day. There’s a mix of energy and vulnerability that I find very inspiring, and I try to bring that into my tracks.
What vision did you have in mind when founding Paranormal Society, and how do you see it evolving?
Paranormal is still young, but it already has its own identity. I can’t say too much yet, but big projects are coming in November: music, and more than just music. People will understand when they see it.
2025 has been a defining year for you, with the Adriatique collaboration on Give It To Me becoming a festival anthem worldwide. How did it feel seeing such a personal project resonate on that scale?
With a project like this, there are really no limits, and that’s what makes it so exciting. When a track resonates on such a big scale, it stops belonging only to you; it becomes part of people’s experiences, their memories, their nights out. That’s very stimulating for me as an artist because it pushes me to think bigger and to keep taking risks. It shows that if the music feels true and powerful, it can go anywhere, from intimate clubs to the biggest festivals in the world. It’s a reminder of why I make music in the first place.
You also returned to Diynamic with Nobody Told Me, reconnecting with the label that first backed you with Yumi. What makes this relationship so special to you?
It really feels like coming home now. We’ve built a very special relationship over the years, and I’m very grateful for what they did with Yumi; that track changed everything for me. That’s why I love coming back to Diynamic, it always feels natural and meaningful.
Your remix credits include artists as different as Röyksopp and Lenny Kravitz. What do you look for in a track before deciding to reinterpret it?
For me, the most important thing is whether I can hear a new story inside the original. I don’t approach remixes just to make a club version; I look for a hook, a vocal, or even just a texture that sparks ideas and makes me want to rebuild the track in my own language. The diversity of artists like Röyksopp or Lenny Kravitz is exactly what excites me, because it challenges me to step outside of my comfort zone while still keeping my identity in the music.
This autumn, you embark on your debut US tour, with dates alongside Blond:ish and Alex Wann. What are you most looking forward to?
I’m very happy to be back in the US. It feels super important for me. What makes it special is being part of this tour with Alex. We started out together in Paris almost ten years ago, learning, playing small gigs, and trying to find our sound. To meet again on the other side of the world, sharing stages in the US, feels surreal. It’s a beautiful story. We also have a collaboration coming soon. And I’ve just finished a remix for Blond:ish that will be out in mid-October, so this tour feels like the perfect moment to bring all these projects to life.
Your path from a corporate job to festival stages in just three years has been remarkable. What gave you the confidence to take that leap into music full-time?
At some point, I just realised that music was the only thing I truly wanted to dedicate myself to. Leaving a stable job wasn’t easy, but the passion was stronger than the fear. The response to my first tracks gave me the confidence that I could really build something, and once I felt that connection with people, I knew I had to give it everything. Looking back, it was a risk, but also the best decision I’ve ever made.
Live shows have taken you from intimate club spaces to monumental settings like Château de Chantilly with Solomun. How do you adapt your performances to such different environments?
I think it’s all about reading the space and the energy of the crowd. In a small club, I can go deeper and be more experimental because it feels very personal and direct. In big settings like Château de Chantilly, it’s more about creating a journey that matches the scale of the place, with bigger emotions and moments that connect a large audience. The challenge is to keep my identity in both contexts, while adapting the intensity and dynamics to fit the environment.
