Some duos sound good together. Milk & Bone sound dangerous together. Laurence Lafond-Beaulne and Camille Poliquin (you might know her as KROY) have been building this slow-burn electro-pop empire since their 2015 debut Little Mourning, the kind of album you keep in rotation for late-night glow-ups and slow-drip heartbreaks. Deception Bay and DIVE just made them sharper—critics drooled, streams climbed past 75 million, and suddenly they were everywhere: touring across Canada, Europe, the States; scoring Cirque du Soleil shows; landing a Canadian Screen Award nomination for their film work; even taking home a Juno for Electronic Album of the Year in 2019. Now they’ve teamed up with Chromeo for their next move—an entire EP together, A Little Lucky, dropping December 5, 2025. And if ‘Bloodshot’ is the taste test, it’s about to be a messy, lust-drunk winter.
The first time I heard it, I wasn’t in a club. I wasn’t even standing. I was mid-hookup—half-undressed, tangled on my couch with a boy I probably wasn’t going to text back—when his playlist switched gears. This thick Chromeo bassline rolled in, deep enough to make the wine glass on my coffee table hum. Then Milk & Bone’s voices slid over it, silk over steel, and send your love to my hips, they’ve been craving your touch hit like it was aimed at the exact square footage we were taking up. I stopped him, not because I wanted to—because the moment just froze. That look you give when a song catches you off guard and you suddenly feel seen? That. Every Bloodshot baby felt like a challenge I couldn’t walk away from.
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Chromeo know their way around a bassline—funky, precise, impossible to ignore—and here it’s the scaffolding for something that feels more like a seduction than a song. When Laurence and Camille deliver “undress me with your teeth ’cause I’m feeling a little lucky,” it’s not performance—it’s possession. Playful, dangerous, and completely in control. Harmonies lock in, synths bloom around them, and you start imagining those teeth, that luck. The production stays patient, building tension instead of rushing the drop—lowkey a tease, highkey irresistible.
And the lyrics are pure situationship poetry. The verses start in the middle of the night, all low light and restless energy. Living on your doorstep drops you into that reckless, broke-but-thriving kind of romance. There’s sweetness in Candy when you touch me, but it’s the kind that clings, more temptation than comfort. By the time the pre-chorus leans in, the focus is already physical. Send your love to my hips is all control, fusing the beat with the body until you can’t tell where one ends and the other starts.
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Halfway through, everything turns heavier. Lipstick on your shirt says enough on its own—you already know what went down. Only you can read me is territorial, almost daring. The beat feels thicker here. There’s no easing off, no looking for a way out—it stays in that heat, the kind you sit in even when you know it’s going to follow you into the next day.
What makes ‘Bloodshot’ addictive is that it keeps you circling the same high. No big drop, no clean break, no safe landing. The chorus just pulls you back in—no sleep for me until I beg, you never fail, you send me flying, you give me hell—until you’re craving it the way your body craves someone terrible for you but impossible to quit. It’s that 5 a.m. Uber ride with your head against the window, smiling at your reflection because you know damn well you’re not done yet.
Milk & Bone and Chromeo built a whole room you can’t leave with this dance track. One with the lights low, the bass high, and the rules already broken. And if this is just the preview, December can’t come fast enough.
