At first glance, Saycet’s journey may seem peculiar. In reality, it is extremely fluid, as if guided by an external force pushing him toward the logical fulfillment of his destiny as a musician, composer, and producer—a backward evolution away from our current era, which churns out artists non-stop. Over the past 15 years, Pierre Lefeuvre, the creative mind behind Saycet, has become a figurehead in the French electronic music landscape.

When he released his first album, 2005’s One Day At Home, Saycet built upon a genre that had fallen into relative disinterest: deliberately melancholy, errant electronic music rendered more accessible by pop melodies and inventive, experimental beatmaking. An outsider by nature, he was nonetheless spotted by influential media outlets, quickly building an international fan base that has remained loyal through the years.

Over time, his creative work became more refined as his influences merged into a highly personal approach—one that linked a tradition of cerebral music with an opening to a wider audience. Albums such as 2010’s Through The Window and 2015’s Mirage marked an evolution toward a timeless sound, highlighted by innovative arrangements and assured versatility. Tours of Asia and collaborations (with Juliette Armanet, Yan Wagner, among others) further cemented Saycet’s niche on the international music map, even while he remained outside the mainstream radar. His live performances, ever in search of new aesthetic grounds, set him apart as an innovator; by using video projections as dynamic lighting rather than mere visuals, his shows create truly immersive experiences.

Somewhat accidentally, Lefeuvre opened the doors to composing for images—a natural, uncalculated progression for a production artisan whose work is nourished by visual art and cinematic culture. He created his first score for the 2019 feature Un Vrai Bonhomme, marking his entry into the world of film composition. His cinematic journey continued with the composition of all the music for La Révolution, a French series produced by Netflix (debuting in fall 2020), as well as co-creating (with Laurent Garnier) the soundtrack for the Canal+ documentary Bastard Lion.

In 2021, Saycet composed the original soundtrack for the film Mi Iubita mon amour by Noémie Merlant, which was selected for the Cannes Festival. That same year, he embarked on a one-of-a-kind creative residency at the Château de Versailles—a project built around the palace’s architectural heritage and historic instruments.

Following these cinematic and artistic ventures, Saycet released his fourth album Layers, recorded in his brand-new Parisian studio and celebrated as his most accomplished work to date. The album masterfully weaves together evocative, melodic piano pieces with powerful club tracks, encapsulating the dual energies that define his unique artistic vision.

In 2022, he further pushed the boundaries of his craft by composing a cine-concert for the Musée d’Orsay centered around Finis terrae, transforming the museum experience into an immersive performance event.

The momentum continued into 2023, when Saycet contributed to the soundtrack for Acide by Just Phillipot (selected at the Cannes Festival) and, among other projects, composed for Dior’s haute couture womenswear Autumn-Winter collection.

Looking ahead to 2025, Saycet shows no sign of slowing down. His collaboration with Dior will extend into the Spring-Summer collection, and he is set to release what is already considered his most accomplished work to date: the original soundtrack for the series Les Disparues de la Gare (Disney+). In addition, he will compose the soundtrack for the MAX series FC Montfermeil: Maintenant ou Jamais and for Signal 149khz (Paramount+).