Belgium/LA producer-artist noevdv steps forward with nobody like you. A tension-led release that turns early breakout momentum into a cinematic, dual-world system.
Written during a stretch between Brussels and Los Angeles, the track captures a split-state moment. First real industry lift colliding with disconnection, overstimulation, and identity shift. Built on atmospheric weight and low-friction vocal placement, nobody like you leans into contrast rather than resolution; pulling between excitement and alienation without forcing a clean narrative.
That same duality drives his debut EP mulholland drive, where noevdv moves as a producer-first artist, prioritising texture, restraint, and emotional signal over traditional topline storytelling. It’s less about explaining the moment, more about locking the feeling in place.
Below, noevdv breaks down the tension behind nobody like you, the pivot away from placement-chasing, and how space, minimalism, and instinct shape the emotional core of mulholland drive.
I think for me, the most important thing in a noevdv song is the feeling. Everything starts there.
Q1. nobody like you sits between falling in love and feeling out of place. What moment or shift made that tension the core of the track?
nobody like you might sound like I’m talking about a person, but I’m actually not. At that time, I had just experienced one of my first big moments with want u, so my life started to change pretty quickly. I was transitioning from being a regular kid making music in my room to suddenly being in LA and getting a lot of attention for the first time.
It was also my first time staying in LA for a longer period without going back to Belgium, so I felt kind of disconnected from everything familiar. After a while, I started to feel overwhelmed by the environment and all the attention.
We made the track during my last days there before I went back home for a bit, and I think I was in a real love–hate relationship with LA. On one hand, I was grateful and excited to be there, but on the other, I felt out of place and overstimulated. That contrast is really where the tension in the song comes from.
Q2. You built early momentum online, then stepped back instead of chasing placements. What drove that decision, and what changed in your approach after it?
I think even before that online momentum, I had already been chasing placements for a long time. I’ve been producing and making beats since I was 13, so I had been doing it for years.
When want u blew up, I saw it as an opportunity to shift my whole career and focus on what I actually enjoy. I had started to feel a bit burned out from going to sessions every day, hoping an artist would pick one of my beats. There are so many steps before a song you produce actually comes out, and even fewer chances for it to really connect.
After that moment, my approach changed. I feel like I’m in a better place now, artists I genuinely connect with started reaching out to me for my sound, instead of me sending beats out and hoping for something to happen. It feels more intentional.
At the end of the day, what I enjoy most is creating a full song, building a world around it, thinking about the visuals, and then just putting it out into the world.
Q3. Splitting time between Belgium and LA runs through your upcoming debut ep mulholland drive. How does that duality show up differently in your writing versus your production?
I think that duality really comes from who I am as a person. I grew up in Belgium speaking French, but I quickly learned Dutch and English too. By my teenage years, I was already fluent in English, so I grew up watching US movies, Youtube videos, and listening to American music, while still being surrounded by European, especially French, influences.
Even though I only went to the US for the first time when I was 18, I already felt familiar with the culture and could adapt pretty quickly. I really feel like a mix of both worlds, the European side and the American one. I’ve spent time in both, and sometimes it’s a bit frustrating because I don’t feel fully rooted in either anymore.
Q4. mulholland drive is framed as a coming-of-age arc. What connects the tracks emotionally, beyond the surface narrative?
I think the main emotional thread is really about chasing your dreams and believing that if you truly want something, it can happen. For me, that wasn’t an easy decision to fully commit to, especially with my parents wanting me to stay in school. But at that moment, I genuinely felt like I had a real opportunity, so I followed that instinct and dropped out after my first year of college.
The year after that, my artist project started gaining attention, which kind of confirmed that feeling for me. So the meaning of the project, at least from my perspective, is about giving everything you have to what you love, whether that’s music, sports, cinema, or anything else.
I think the last track, Running Out of Time, really sums it up. At some point, being 19 or 20 and not feeling where I wanted to be pushed me to go even harder. In the last 30 seconds of the track, I included a lot of personal recordings from my life. There’s applause from my first piano recital when I was 9, my cousins talking in the background, little moments like that. It’s like looking back at everything that shaped me, all the steps that led me here.
Q5. FM PRO TECH Q: As a producer-first artist, how are you structuring texture, space, and vocal placement across mulholland drive to carry emotion without relying on traditional topline storytelling?
I think for me, the most important thing in a noevdv song is the feeling. Everything starts there.
When I first started sharing my music with other producers, a lot of them told me it sounded underproduced, that I should add more melodies, more drums, more ad-libs. But for me, as soon as I feel something from the track, I stop adding to it. At that point, it’s already done. I don’t want to overwork something and lose the emotion that made it special in the first place.
I think a lot of producers today tend to overproduce, sometimes to show what they can do technically. But for me, music isn’t about that, it’s about capturing a core feeling, something you can come back to whenever you need that emotion.
In terms of structure, I use space and minimalism to let that feeling breathe. I’m very intentional with what I leave in and what I leave out. The textures are usually simple but specific, and the vocals sit in a way that feels natural rather than dominant, they’re part of the atmosphere, not just telling a story.
Most of the time, I start with something that moves me, whether that’s a vocal, a melody, or chords, and build around that. I also try not to overanalyze what the song is about. I focus more on how it feels than on explaining it.
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