Theorem of Joy opens the doors to “L’Hiver” (Winter), a melancholy season that crystallizes new buds before their rebirth. This second opus led by the composer and Double bass player Thomas Julienne walks us through mysterious lands, sometimes blindingly clear – as the photograph of Alexander Dupeyron suggests .

It brings together five personalities from the new French jazz scene, five musicians who share the same desire: that of diversity. A crossbreeding explored at through the repertoire and the choice of timbres, mixing jazz, impressionist music, Mediterranean music and folk culture, rock, post-rock.

A rich vision of its multiple aesthetics, which is no less balanced and uniform in his speech. It is in this variable geometry pentaphone that The free electrons of Theorem of Joy revolve.
Thomas Julienne, multi-instrumentalist (oud, guitar, sitar on other projects), eclectic but deeply influenced by jazz (Larry Grenadier for his playing double bass, Wayne Shorter or Brian Blade for their compositions), offers us intense music, rich and vibrant compositions, as well as a direction artistic aim to reveal the unique creativity of each of its playing partners.

The colors blend in the repertoire and generate writing modalities and rich and surprising improvisation.
The aerial ballad “L’hiver”, the keystone that gives its name to the album, is conducted by the intertwined voices of two formidable essential vocalists of French jazz, Ellinoa and Loïs Le Van, interpreting the text by François Vaïana (Brussels Vocal Project, Panoramic Project). On other compositions like “Atoll” or “Convergences”, where you can feel the influence of Radiohead, Björk or Nick Drake, the voice of Ellinoa, organic and hypersensitive, is reminiscent of some Nordic incantations , structured by Antonin Fresson’s guitar arpeggios.

By inviting the Children of Icarus quartet on three pieces, he shows a real taste for French melody from the beginning of the 20th century, notably Ravel and Lily Baker. In “Little Cloud”, impressionist title while counterpoint, the melodies of Boris Lamerand’s viola travel alongside Laurent’s lyric accordion Derache towards a luminous harmonic evolution.

With “Tomorow Riots”, the record opens to rock with rumbling sounds and rugged melodies, supported by the playing of Tom Peyron, modern drummer drawing as much in jazz as in current music, which here supports a rhythm of Arabic music in nine times, and honors Sébastien’s stong trombone Llado. Thomas Julienne gathers and gives birth to an obvious band sound in this record hopeful introspective.