ACAPULCO REDUX
Clash between various sound elements, deviations without brutality, electrical and dreamlike sleet and discharges, Acapulco’s vibrations created their own response, overturning the initial proposal, the one of a non-conventional guitar approach, through a radical stage lighting device, where the musician’s body is immersed in new musical densities.
Julien Desprez, Guitar, Light Device
Gregory Edelein, Scénographia, Choreography
Cécile Guigny, Light Device realisation
with the partnership of LA MUSE EN CIRCUIT, LA DYNAMO DE BANLIEUES BLEUES and ARCADI
COCO
COCO is neither a concert nor a dance piece.
Coco is between. This performance seeks to create the indeterminate space right in between of sounds and motions.
Resulting from a dialogue between Julien Desprez's practice and the practice of the samba group "Coco Raizes de Arcoverde", COCO creates a total show where tension is taking the role of the narration.
During 02 weeks of residency in Arcoverde, Pernambuco (Brasil), Julien learnt with the Coco Raizes de Arcoverde them special tap dance technic. Through a dialog with this special sound dance, Julien Desprez created a piece where everything has the right to talk with no aesthetic boarder.
Special thanks to Assis, Iran, Damaris and Icaro Calixto for them sharing.
Listen here the music of the "Coco Raizes de Arcoverde"
Julien Desprez: Guitar, Performance, Voice, Direction
Pauline Simon: Performance, Guitar
Julien Loutelier: Performance, Percussion
Ana Rita Teodoro: Performance, Voice
Clement Vercelletto: Performance, Modular Synth, Voice
Lucas Lagomarsino: Performance, Tiny Amp, Voice
Bastien Mignot: Dramaturgy, outside sight
Gregory Edelein: Stage Design, Light design, outside sight
Gregory Joubert: Sound and PA
Milena Grange: Technic Manager
Mael Pinard, Guillaume Marmin: Light Device Design
ABACAXI
Somewhere between late 60’s rock and sound art, ABACAXI has a a heart full of candy and a skin made of spikes.
Formed by Julien Desprez, this brand new incarnation of the classic rock line up guitar/bass/drums presents an intense electric sound sculpture, carved by the rock idiom.
The trio, with Francesco Pastacladi on drums and Jean François Riffaud on bass, creates an highly energetic new music full of noisy brightness and sharp edges - completed by a choreography of flashlights.
Photo by Sylvain Gripoix
Julien Desprez: Guitar, Lights, Composition
Jean_François Riffaud: Bass
Francesco Pastacaldi: Drums
Booking:
AGORA
Originally conceived as a recorded sound piece, Agora was created during lockdown in November 2021. With this brand new piece, the guitar and its pedals becomes a high electric voltage device played in an organ way.
If Agora refers to the meeting place of the city, where the whole people meet, Agora also means "now" in Portuguese.
Agora is twofold and plays from several points of view. A soft, explosive and joyful trance brings together podorythmia, high electric tension, guitar and body until rupture and reconciliation. With joy and frenzy, a multiple world is negotiated through your listening.
Julien Desprez/Farida Amadou
“Ten Steel Strings for a Hallelujah”. In the main roles: bass, guitar and electricity.
Their approach is as pure and unadulterated as a meeting of two strong musical personalities can be: their focus lies in communication, in approaching and touching, seizing and contrasting, in agreeing and crying out as one. For the audience, this dialogue becomes a cleansing ritual for the ears, the body and the soul.
THE HATCH
You don’t have to see them in action to know that they’re both physical players. You can feel lungs being emptied with diaphragm-bruising force, and you can also hear the moments when fist meets wood.
Julien Desprez, Guitar
Mette Rasmussen: Alto Saxophone
MOPCUT
MOPCUT is a medium-length noise-style that covers the head and ears with a vertical bang and a horizontal wave. It's a popular style for all ages, genders and generations.The soundscape should be trimmed evenly all around the circumference so that the noise at the front reaches the inner eye while the waves on the sides cover (or almost fully cover) the ears.
The beats at the back maintain the same length as the samples at the front and sides. Once the overall sound is achieved, trimming is used to achieve minimalism or maximalism, depending. Improvisation, noise and electronic beats work well as backgrounds for the MOPCUT.
Electronic appliances and devices may be used to give the MOPCUT a bit more volume, but effects may lead to standing up instead of hanging low.
Lukas Koenig: Durms, Synth
Audrey Chen: Voice, Synth
Julien Desprez: Guitar