Romanian duo No Parachute have never been in a rush. While plenty of records sprint to the hook, their One Day In Saint Tropez EP takes the scenic route.
“El Dia” unfolds gradually, the title track heads into late-night territory, and neither feels interested in shouting for attention. More the record you realise you’ve been inside for five minutes before noticing the arrangement has barely moved and somehow that’s the point.
With the EP out now, we took this opportunity to speak to them about patience in writing, why leaving gaps matters more than filling them, and how years of working together has turned decision-making into near telepathy. They also hint at 2026 plans, including a collaboration landing on Cavo Paradiso Records.
El Dia has this really patient, slow-burn energy to it. Was that always the plan going in, or did it evolve naturally?
That feeling was always there from the start, but we didn’t force it.“El Día” came together very organically, we let the track breathe and reveal itself instead of pushing it somewhere too fast. The patience was intentional, but the way it unfolds happened naturally in the studio. We were more interested in creating a sense of space and anticipation than in rushing to a payoff, so the slow-burn energy became part of its identity rather than a production choice.
When you’re building a track like this, are you more driven by a mood you’re trying to capture or a particular sound you want to explore?
It usually starts with a mood. We’re chasing a feeling first a moment, a temperature, a certain emotional color. Once that’s clear, the sounds naturally fall into place and serve that mood. If a sound doesn’t support the feeling, it doesn’t stay, no matter how good it is on its own. For us, the emotional direction is the compass, and the sound design is just the way we get there.
Saint Tropez feels darker and more stripped back, was that a conscious contrast to El Dia, or just where your heads were at creatively?
It was a bit of both. We didn’t sit down saying, “let’s make the opposite of El Día,” but we were definitely aware of the contrast as it started to take shape. Saint Tropez came from a more nocturnal headspace more restrained, more minimal, letting tension do the talking. Placing it next to El Día felt natural, like two different times of the same journey. One is sun-drenched and patient, the other is darker and more introspective, but they’re part of the same world.
You’ve been making music together for a while now. What’s something about working as a duo that’s stayed the same, and what’s changed as you’ve grown into it?
What’s stayed the same is the trust. We still rely a lot on instinct and on knowing when to step back and let the other lead. That silent understanding is the foundation of everything we do. What’s changed is how confident we are with space both in the studio and in the music. We’ve learned that we don’t need to fill every moment or explain every idea. Leaving things unsaid, or unresolved, has become part of our sound, and it’s something we’ve really grown into as a duo.
With SPIRIT, you’re creating a whole world around the music. How much does that visual and event side feed into what happens in the studio?
It feeds into it a lot, but more as atmosphere than as a rulebook. SPIRIT it’s less about planning and more about alignment, making sure the music, the visuals, and the events all feel like different expressions of the same idea.
Your sound is emotional but always feels pretty restrained. Do you ever find yourselves holding back too much, or is that balance something you’ve figured out over time?
We think restraint is where the emotion lives for us. But I wouldn’t use that term as defining our sound. Early on, we were probably more instinctively careful, but over time it’s become a conscious balance rather than hesitation.
Holding back creates tension, and tension gives the emotional moments more weight when they finally surface. If a track ever starts to feel too polite, we push it, but we’re never interested in over-explaining the feeling. Leaving room for the listener to step in has become an important part of how we express ourselves.
How do you decide where a track belongs, and what kind of label feels like the right fit for you now?
We go by feeling first. If a track feels personal, it stays close to us; if it wants a bigger dancefloor life, that guides where it belongs. The right label now is about taste and trust, not size…somewhere that respects restraint, atmosphere, and the long-term story of the music, not quick hype.
Between touring and running events at home, you’ve been exposed to a lot of different scenes and sounds. Are there any rhythms or influences that keep finding their way back into your music?
It’s always groove first. No matter the scene or city, we keep coming back to warm, happy rhythms – bouncy basslines, playful percussion, and that feel-good swing that makes people move without overthinking it.
Touring and running events just sharpens that instinct. We might borrow a shuffle here, a funky touch there, but it always comes back filtered through joy, movement, and connection. If it doesn’t make us smile or feel like dancing, it doesn’t stick.
You seem to be in a really clear creative space right now…. what’s on the horizon for 2026?
For us, 2026 is about producing more and producing with intention. After 18 years of making music as solo artists and 7 years as No Parachute, we finally feel at maturity, we know exactly what we want from ourselves and from our sound.
Less hesitation, more confidence. Fewer compromises, stronger identity. It’s a year of turning experience into output, and letting the music speak for where we are now. We have many releases lined up this year but the first to mention is in March 2026 at Cavo Paradiso Records. A collaboration with Alex Twin and the voice of Oduh Orlando called Pole.
One Day In Saint Tropez is out now on Pipe & Pochet
The post “We’ve learned that we don’t need to fill every moment” No Parachute interview appeared first on Magnetic Magazine.