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Etienne Jaumet

 

 



(textes en français en bas de page)

CLICK HERE FOR ETIENNE’S NEXT SHOWS
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LATTEST ALBUM “LA VISITE” OUT ON VERSATILE RECORDS (2014).
Since the release of “Night Music” in 2009, Etienne Jaumet has been a busy man. He’s been doing a lot of collabs (James Holden, Joakim, Richard Pinhas, Francois & The Atlas Mountain) and released one album and a movie original soundtrack with his alter ego Zombie Zombie. So it was the time for him to return to his synths, his sax and his beloved TR808 for a new solo album.

“La Visite” had been recorded in two months at the Versatile studio. It’s a more introvert, a more glowing work than Night Music, maybe a little more jazzy too, his saxophone lines being added on many tracks of the album. It’s also leaning towards dance music further more, Jaumet being experimenting with djing lately could be the reason for that.

“LA VISITE” video

LATEST NEWS:
• Etienne created with Sonic Boom and Céline Wadier a Tribute to La Monte Young – read more below.

• Etienne is also playing sax with James Holden on his live shows.

• Etienne’s collaboration with Richard Pinhas, “Vents Solaires” (12″) out in November 2013 on Versatile Records.

• Etienne is also de DJ. Check him at BOILER ROOM:

• Etienne has a special installation in collaboration with visual artist Felicie d’Estienne d’Orves called Satori. Satori est réalisé avec l’aide à la production d’Arcadi Ile-de-France.

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LA MONTE YOUNG TRIBUTE

The project features Etienne Jaumet, Sonic Boom electronic musician from London who played with Spacemen 3, Spectrum and E.A.R. (Experimental Audio Research. Both artists wanted to collaborate for some time. They are joined by Céline Wadier, a French artist singing in Indian Classical music style. Etienne and Sonic play analog synths in a drone way. Availability: contact Pascal

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RUBIN STEINER: Etienne Jaumet fait partie de nos musiciens chouchous et en plus il représente (lui aussi) l’idée que nous nous faisons de Super Flux, à savoir un mélange de musiques singulières, chercheuses et libres, et de musiciens dont les travaux et les parcours incitent à la curiosité et à la découverte. En ce sens, le travail d’Etienne Jaumet, à l’instar des connexions de Ninos Du Brasil avec l’art contemporain ou la musique expérimentale, est un livre ouvert sur de merveilleux territoires inconnus à explorer. D’abord Zombie Zombie et la remise en orbite du krautrock et des frissons de Carpenter, et puis son disque avec Richard Pinhas, sa révérence envers le free-jazz et le free-rock français des 70’s, sa passion pour la science fiction, la musique contemporaine, l’improvisation, sa collaboration avec la plasticienne Felicie D’Estienne d’Orves pour Satori, son saxophone avec Holden en live, et je ne parle pas de ses anciens groupes, ni de tous ceux avec qui il a joué. Des passerelles entre les genres, entre les gens. Et malgré toutes ces choses, le temps d’enregistrer ce nouvel album solo, qu’on vient de recevoir et qui risque d’être un de nos disques de chevet de 2015. La Visite, c’est son nom, commence en terrain connu : on « voit » Etienne debout au milieu de ses nombreux synthés analogiques et de sa fidèle TR808 (une boîte à rythme dont il a réussi à s’approprier le son pourtant ultra référencé), programmant en direct des séquences et des arpegios, cette façon de jouer et de composer bien à lui, en direct, en impro quasi, on imagine. La magie opère immédiatement, mais le son n’est plus celui de Night Music, son premier album magnifiquement mixé comme de la techno par Carl Craig. Les deux premiers titres, Metallik Cage et La Visite dressent un décor nouveau. Un décor pop, voire jazz et… chanté ! La fascination d’Etienne pour les grandes heures space et free des années 70 prend ici une forme d’hommage assumé, humble et bienveillant, directement connecté à l’Actuel de Jean-François Bizot, quand la musique alors vrillait autant les corps que les cerveaux. Comme une histoire intime de sensations lointaines. Etienne est né en 1970 et sa musique déroule un fil d’éther jusqu’à aujourd’hui, un voyage. Un voyage et un partage, les deux choses indissociables à sa musique qui raconte toujours son histoire dans l’histoire, et nous emmène bien loin dans l’espace et le temps, même si nos pieds continuent de danser sur la terre ferme d’un club qu’on ne voit pas derrière nos paupières fermées.”

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Since “Night Music”, Etienne has been recording, playing or remixing, all over the world, solo and also with Zombie Zombie , (including their Potemkine soundtrack project and jean Painlevé cinemix) Emmanuelle Parrenin , Richard Pinhas , James Holden*, Turzi, The Big Cruch Theory, Alan Howarth , Sonny Simmons , Versatile Noise Troopers (Gilb’R, I:Cube, Joakim & Etienne Jaumet), Danton Eeprom, Ilhan Ersahin, François and The Atlas Mountains, Luke Abbott, Discodeine, ARP, Man & Man, Yuksek, Gianluca Petrella, Cosmic Control, Le Cabaret Contemporain (The John Cage Project), Gilbert Artman & Philippe Bolliet, Part Company and even – wait for it… Red Hot Chili Peppers!!

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Contact booking: pascal@julietippex.com
Etienne is available for / Etienne est dispo pour:
– live solo shows
– live solo shows with SATORI, an installation by Felicie d’Estienne d’Orves
– Tribute to La Monte Young with Sonic Boom & Céline Wadier
– DJ sets
– live in duet with Richard Pinhas

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ETIENNE JAUMET & RICHARD PINHAS
Photos by Philippe Lebruman



One of the French 70s legend, Pinhas has been playing guitar and synths with his band HELDON but also with Magma or Pascal Comelade, as well as collaborations with authors Gilles Deleuze, Norman Spinrad or Maurice Dantec.
Influenced by the work of Robert Fripp and Brian Eno, the music of Richard Pinhas and Heldon is sui generis and innovative and has in its turn greatly influenced the field of electronic rock.
Etienne and Richard met and decided to play together, united despite the age difference by their love for electronic and cosmic music – “Through the mists of time”!

The 12″ “Vents Solaires”  on Versatile.
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VIDEOS :

Live at Baleapop 2017:

 

A brillant show at MOFO 20111

Dancity Festival, Umbria, Italy, 2010

Music for CSI : Miami!!

Video by www.the-drone.com

 

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DISCOGRAPHY:

“Repeat after me” (EP / 2 tracks)
Versatile Records, 2007 – VER054


“Night Music” (LP / CD)
Versatile Records, 2009 – VERLP021 VERCD021. Produced by Carl Craig


“Entropy” (EP)
Versatile Records, 2009 – VER064


“Satori” (EP)
Versatile Records, 2011 – VER 075

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Richard Pinhas/Etienne Jaumet  – “Vents Solaires” (EP)
Versatile Records 2013 – VER 087

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“La Visite” CD/LP
Versatile Records 2014 – VERCD029

“Metallik Cages” Gilb-R Club Mix, Gilb-R Bonus Beats, Acid Arab Remix – Maxi
Versatile Records 2014 – VERCD097

Also: Gilbert Artman, Philippe Bolliet, Etienne Jaumet: “Zomlard” for the album “Veterans of the French Underground Meet la Jeune-Garde” (various artists, Les Zut-O-Pistes, 2011)

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PRESS:

One of the finest recent albums of its kosmische kind
In the grand tradition of the proggy excess that was rife 30-or-so years ago, For Falling Asleep – the first track of the five on this album – lasts 20 minutes and 25 seconds. It builds, almost imperceptibly, into a repetitious exploration of space that’s worthy of synth masters like Steve Hillage or German trance-rock icons Ash Ra Tempel. Even the jazz sax that arrives about halfway through reveals itself tastefully, and when it winds down for a final few minutes of deep space drone mixed with delicate harp (played by Emmanuelle Parrenin, a French folk singer who could be considered that nation’s answer to Vashti Bunyan), you feel like you’ve been spirited away to a peculiar but idyllic dimension.

While the remainder of the disc features slightly more bite-sized numbers, the general commitment to lush, nocturnal machine music remains in place throughout. Jaumet has been aided here by Carl Craig, one of the most important figures in Detroit techno and whose aesthetic has tended more towards the spacious and intellectual end of the genre, rather than its harsh and pounding side. His role was that of mixer and producer, so we the listeners can only speculate on precisely what effect his handiwork had – certainly, though, Night Music is a sonic triumph, each drum machine thump and vintage sequencer sounding like they don’t have a hair out of place. It is one of the finest examples of the revival of the ‘kosmische’ micro-genre of recent times, up there with Lindstrøm’s acclaimed 2008 album Where You Go I Go Too. BBC

Etienne Jaumet, “l’homme aux synthé” est célébré par Le Monde (oct 2011) :

A revelation, and a fine one at that
If only Etienne Jaumet had been around when Ridley Scott was looking for a musical arranger for Blade Runner. At a whopping 20 minutes, Night Music’s opener “For Falling Asleep” conjures an image of a forbidding metallic metropolis, basked in neon while something sinister effervesces and billows out like steam from the city’s manholes. Apart from the synths gurgling beneath a mist of Middle Eastern influence, there’s a forlorn sax, played by Jaumet himself, that provides the key brushstroke to a neo-noir sound epic. However, it wouldn’t do for Jaumet, known as one-half of Parisian dance duo Zombie Zombie, to sound like a dead ringer of Vangelis. Rather than inflate “For Falling Asleep” with the kind of wounded romanticism of the Greek composer’s “Damask Rose”, say, Jaumet has cogitated the idea of staring into the abyss with what sounds like the kind of high-pitched vocal tremors that accompanied the ape scene in 2001: A Space Odyssey . Still, buried in this haunting landscape is the flickering ember of Emmanuelle Parrenin’s harp, a touch at once diaphanous and sullen.

“For Falling Asleep” sounds as much like Brian Eno and Silver Apples as it does Pharoah Sanders. And even though it resembles little of what Jaumet has done before, it is everything you’d expect this unshakeable analogue enthusiast, who considers his TR-808 and RE-201 close companions, to do. Jaumet’s affection for the ‘70s, something evident from Zombie Zombie’s krautrock-specked disco electro, extends to his making “For Falling Asleep” an entire A side of Night Music, with the remaining four tracks on the flipside. Still, with the help of unlikely collaborator Carl Craig, a Detroit producer, Night Music sounds as unified as a clutch of consecutive scenes of a movie.

As “For Falling Asleep” suggests, the album is hardly nightclub material. Jaumet’s Teutonic disco underpinnings are limited to “Mental Vortex” and “Entropy”. But with both tracks’ Steve Reich-inspired monotony comes a sizeable coat of Teflon. By contrast, “Through the Strata” champions the brooding Arabic-inflected mien of the album opener. With its faint echoes of a sullen Al’meh, “Through the Strata” sounds like a makeshift Moroccan bazaar set up within a manufacturing plant. It could be a potent symbol of the emasculation of an ancient culture for a contemporary one or the dogged persistence of the former in spite of the hegemony of the latter. If instrumental music is capable of strong narrative, then here is some irrevocable proof.

“At the Crack of Dawn”, meanwhile, sounds like the sonic version of retrofitting in terms of the way it summons an image of an Arabic cityscape inhabited by creatures that travel by Seeder Ramships. Here, layers of filtered saxophone, assuming the place of a mjwez or Algerian mizwid, strain over the steady march of droning synths and a sprinkling of celestial effects. The track’s repetitive though surprisingly untiring nature—one motif is recycled over and again for its near-five minute duration—suggests a meditative quality not unlike an Islamic call to prayer. It is this kind of subtlety of mood, wedded to vivid evocation, that furnishes Night Music with a sophistication very much absent from Zombie Zombie’s industrial proto-electronica.

Night Music is something that you would expect to be a side project given that Zombie Zombie is still very much on the go. Yet it gives some critics, notably Johnny Dee of The Guardian, some pause when thinking that all musical tangents are somehow cursed, being self-indulgent at their best and mere flotsam at their worst. For Night Music is a revelation, and a fine one at that. Estella Hung, http://www.popmatters.com

Extract from an interview with Inbox byLulu McAllister:
XLR8R’s Inbox touches base with jovial French tech-house producer Etienne Jaumet, who has just come back from sharing the deck with Dirty Soundsystem on a Cosmic Cruise around an artificial lake in Paris. Jaumet gushes about Carl Craig, compares himself to crayon colors, eats too fast… Jaumet’s Night Music is out now on Domino.

XLR8R: What’s the weirdest story you have ever heard about yourself?
Etienne Jaumet: People always imagine that I need to take drugs all day long to make my music… hahahaha!

Does the mood you’re in effect the music you choose to play, or does the music you hear effect the mood you’re in?
I don’t control myself very well, and don’t think too much. I don’t have an analytic approach to music; I just love to lose myself in the sensations and the emotions given by the music. The music feeds me.

What was your favorite song when you were 15?
“10:15 Saturday Night” by The Cure.

If you could spend an hour in any city right now, which would you choose?
Benares, India.

How would you describe your sense of style?
Old-fashioned modernist! Or post-traditionalist, if you prefer.

What was it like working with Carl Craig?
He don’t need anybody! He only does what he wants to. He knew so well the music and the sound! He’s a master!

What did you always get in trouble for when you were little?
Eating too fast. It’s still the same.

Which other artist would you like to work with next?
Brian Eno.

© Caroline Andrieu – www.untitled-07.com


BIO EN FRANCAIS:

ETIENNE JAUMET a commencé sa carrière de musicien dans les années 90 avec Flop et toute l’équipe des Disques Bien et le groupe Married Monk. Mais c’est en devenant “l’homme aux synthés analogiques” de Zombie Zombie qu’il se révèle. Avec Cosmic Neman (également batteur de Herman Dune), Zombie Zombie sort deux albums influencés autant par le kraut-rock experimental des années 70s que l’avant-garde newyorkaise à la Suicide et enchaine des dizaines de concerts dans le monde; Rough Trade nomme leur “A Land for Renegades” disque de l’année.
Le premier album solo d’Etienne, “Night Music”, (Versatile 2009), est mixé par Carl Craig et apporte à Etienne la consécration. Etienne a déjà mis en transe des dizaines de scènes européennes de Cork à Riga.
Depuis “Night Music”, Etienne a enregistré, joué ou remixé en solo ou avec Zombie Zombie , (ainsi que leur cinemix Potemkine) , Emmanuelle Parrenin , Richard Pinhas , Turzi, The Big Cruch Theory, Alan Howarth , Sonny Simmons , Versatile Noise Troopers (Gilb’R, I:Cube, Joakim & Etienne Jaumet), Danton Eeprom, Ilhan Ersahin, François and The Atlas Mountains, Luke Abbott, Discodeine, ARP, Man & Man, Yuksek, Gianluca Petrella, Cosmic Control, Le Cabaret Contemporain…

Dans la foulée des aventures cosmiques made in France signées Joakim, Turzi ou Krikor, on recense également celles d’Étienne Jaumet, moitié du duo électro-krautrock Zombie Zombie, qui ose un album-concept classieux et personnel pour son premier effort solo. L’illuminé y exprime toute sa tendresse (voire son fétichisme) pour la poésie naïve et les échafaudages alambiqués des sorciers électroniques allemands des années 70 tels que Klaus Schulze ou Manuel Göttsching. Comme pour coller à la tradition des albums planants de l’époque, Night Music s’ouvre sur “For Falling Asleep”, une pièce de vingt minutes qui entremêle volutes analogiques, chœurs façon Gorecki pour 2001, Odyssée de l’espace et strates d’échos à la Terry Riley, avant de s’éteindre sur quelques frôlements de harpe. En face B, Jaumet enchaîne une série de vignettes tout aussi crépusculaires et hypnotiques, dont la sublime “At The Crack Of Dawn” sur laquelle il couche son saxophone pour le plus bel effet. Produit très adéquatement par Carl Craig, Night Music est une œuvre d’esthète, sincère et intimiste, rétro mais contemporaine, qui n’est pas destinée à briller de mille feux dans l’instant mais à durer dans le temps. (Thomas Corlin – Tsugi)