“The most important thing for me is remembering to return to the simple things — slowing down, sitting still, and pursuing clarity and love.” With “Someone Else Is Calling,” Hercules & Love Affair opens a new chapter that gently brings all of these wonderful elements together. The official video, shot in Mexico City and directed by Tatsumi Milori, feels intimate and unforced, following moments of movement, connection, and presence. It mirrors the atmosphere of the music itself: human, fluid, and attentive to what happens in between.
The single also sets the tone for what follows on the full release. Out now, the Someone Else Is Calling EP is a four-track release that draws you in without rushing. There’s something slightly mysterious about it – guided by feeling rather than declaration – yet it still takes you along with a steady sense of rhythm and flow. The tracks feel tactile and melodic, emotionally present while remaining grounded in movement. Crossed Lines emerges as a personal favorite: melodic, deep, and quietly absorbing – everything music, for me, should be: a way to switch off thinking and fully give yourself over to what is being offered.
Behind Hercules & Love Affair is Andrew Butler, whose musical path has always moved between songwriting, production, and the club – shaped by different cities, collaborations, and phases of life. We spoke with him about writing the EP in Iceland, the chemistry with Elín Ey, the role of place in his creative process, and what it means to return to live shows after several years away.
backstage photography by Naitian
Hey dear Andrew, I’m just listening to your new track “Someone Else Is Calling,” released under your artist name Hercules & Love Affair. I really like the cool vibe of it. Tell me—when and where did you write the song, and how long did it take you to finish it?
It was written in Iceland, in the midst of working on the Hips & Lips record. We decided to step away from that super fun indie rock project for a minute and make a few dance tracks. I had already recorded a few acid lines and Elin Ey and I recorded vocals over a couple basslines. I took the vocals home, produced more of the songs, then played them for a friend who suggested I bring it to Paranoid London/Decius as they were an inspiration on the record. I reached out and ended up in the studio with Quinn from Paranoid and we had a great time tweaking the record. Margo Broom mixed it and Alex Ferrer mastered it and… voila!
What’s the meaning of the title, and what’s the story behind the song?
It’s pretty much a dialogue about frustration and turning your attention to that which you desire and which desires you.
It’s the lead single from your freshly released EP of the same name. The work on the EP began during sessions in Iceland, where you and Elín Ey were originally working on material for her Hips & Lips project. You’ve collaborated on previous Hercules albums as well. Was there anything particularly special about working together this time—something that felt new in your dynamic, or something you learned from each other?
Working with Elin is always a beautiful experience. They have such an incredible ability to use the voice as an instrument, and as an instrument, theirs is incredible. I feel like every time we walk into a studio, it’s like stepping onto an ice skating rink, and we are inviting each other to glide over the water; we have an alchemy that is effortless.
“Shooting in Mexico City was really special because it is a hotbed of creativity.”
Did the Icelandic environment influence your sound?
In the sense that Elin is the vocalist, yes. The sensitivity and intimacy of the vocal performance which might be seen as more frequently experienced with talented Icelandic artists, is there, I suppose.
What was the most challenging part for you while working on this EP?
Landing the mix of one of the songs. It was challenging.
You also collaborated with Quinn Whalley for the first time on this EP. How did the two of you meet?
We met initially because I am a huge fan of a project he is involved in called Decius, and booked them to play an afterparty for a Valentino Couture show that I was invited to curate. I loved him immediately, but have been a big fan of his music since my teens.
“Remember we are here with everyone, not for everyone.”
The video was directed and co-stars Tatsumi Milori, and it was shot in Mexico City. You have a very special relationship with the city—what do you find creatively inspiring about Mexico City compared to other places you’ve worked?
Mexico City feels familiar now. I arrive and know where I am going, which is so amazing because my first few experiences of the city was that it was huge and overwhelming. At this point I am glad to say I can say similar things about other Mexican cities like Guadalajara, but shooting in CDMX was really special because it is a hotbed of creativity. Tatsumi was an incredible boon brought into my life via Sebastian Ayala, a photographer and producer I have known for years. When he showed me her work, the raw beauty of it was striking and I felt really excited at what she could envision.
You’ll be going on Hercules & Love Affair’s first run of live shows in seven years. Why was there such a long pause, and how excited are you about returning to the stage?
I had to find the right people to tour with. Sadly, Aerea Negrot and I were talking about touring again before she passed, and I thought never again. But then, upon working with Elin in the studio, almost accidentally, as we were focused on the Hips & Lips project, I realized, there’s no one else I would rather be on stage and just hang out with that much, so it just happened.
Do you have any special tour rituals?
Well, we always say have fun, and I say, “Remember we are here with everyone, not for everyone.”
And finally, what’s one of the most important things in life for you?
The most important thing for me is remembering to return to the simple things, like slowing down, sitting still, and holding a sober life, pursuing clarity and love.
Check out the full EP: orcd.co/halafthipsandlips
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