Anna Majidson is one of those rare voices on the new French and international music scene.

Having emerged from the acclaimed duo Haute, which she formed with producer Blasé (also known as Romain Hainaut), the singer and producer has been carving out a unique musical path since 2020, imbued with refined references. Their Colors Session has over 30 million views to this day.

With only three EPs (Mixtape Telecom, La Rivière, and Ménagerie de Glass), she has demonstrated her mastery of contemporary music codes while bringing her own distinctive touch to the French music scene, characterized by her use of the mandolin and the crafting of poetic yet catchy lyrics.

In just three years, she has also expanded her range of collaborations, working with French artists like rapper Nelick, singer Moodoïd, and musician November Ultra, as well as international names such as Seu Jorge and Macy Gray.

Anna Majidson returns with Pomona, her fourth EP.

Today, Anna Majidson returns with Pomona, her fourth EP, which feels like a promise—one of affirming her artistic identity through the discovery of the myth of Pomona. It all begins in the galleries of the Tate Museum in London, at the heart of an exhibition dedicated to the Pre-Raphaelite painters. There, she encounters Dante Gabriel Rossetti’s 1864 painting Monna Pomona—a depiction of the Roman goddess of fruit trees, gardens, and orchards. It’s love at first sight for Anna, who grew up in California near the city of Pomona (which, unsurprisingly, takes its name from the nymph). Soon, she envisions Pomona as her personal goddess, drawing a parallel between the artist crafting her work and the deity nurturing the bloom of her fruits. This inspires several texts and melodies tied to a pastoral life she warmly embraces, living far from the bustling Parisian energy that had surrounded her for nearly a decade.

Following La Ménagerie de Glass, an EP created in just four urgent months, Anna Majidson decides to take her time. Before arriving at the five tracks that make up Pomona, she spends a full year refining dozens of songs with her musical partner and producer, Simon Gaspard. Together, they push the boundaries of perfectionism, creating multiple versions of each song until they achieve the precise form they desire. The result is a polished project, as refined as a diamond, where nothing is left to chance.

Pomona is a multifaceted record, with each song inhabiting its own unique universe. It oscillates between the R’n’B tones Anna has already accustomed us to (Rose Épine with its alluring piano or Sable, a heartbreaking breakup song) and a more direct pop style, verging on hyperpop (Pomona or Be Alone). The EP draws inspiration from a French tradition of electronic music, influenced by artists like Air, Sébastien Tellier, and Charlotte Gainsbourg. Its soft, subdued tone doesn’t stop Pomona from exploring more Anglo-Saxon shores, evoking the likes of Sade or Kate Bush—two of Anna Majidson’s idols. The production is carefully calibrated to give prominence to her voice, which feels fragile, as though on the brink of breaking. This almost ASMR-like effect could become her signature, as she consistently deploys it across her various projects.

A true reflection on the artist’s role, likened to someone cultivating their garden, Pomona is a remarkably gentle treasure—a synthesis of Anna Majidson’s finest work in recent years. Both tender, ethereal, and poetic, it invites listeners to delve deep within themselves, as though seeking a sense of complete serenity.