Re Eff

Julien Gasc

Re Eff

AlternativeFrench Pop
Sale price20,83 €

In stock
Release LP SKU: CD002
  • September 23, 2022

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Après l'album "L'appel de la forêt" salué par la critique, et le E.P. de reprises de musique brésilienne "Serpentes" sortis en 2020, Julien Gasc poursuit sa carrière solo avec ce quatrième opus, écrit au calme pendant le confinement dans le sud-ouest de la France. À l'écoute de la radio américaine indépendante WFMU en fond sonore , le jazz de Thelonious Monk et les productions de Sylvia Robinson, l'auteur tente d'échapper à la monotonie des jours qui passent.

Il trouve une issue créatrice en se consacrant à la pratique du cut-up, chère à William S. Burroughs en découpant des textes issus de sa collection de livres et de ses propres écrits. Associant la réitération (RE) et l'effacement (EFF), ces mots personnifient les multiples destinataires imaginaires ou réels, parfois sans réponse, dans la correspondance par email et téléphonique du musicien. Ce procédé à la fois littéraire et ludique, donne le ton de l'album, ainsi que son titre RE EFF, une "plaisanterie sérieuse" en somme.

L'écriture de contre-fictions constitue l'autre expérimentation littéraire utilisée pour raconter ces récits, en dix chansons. Pour citer quelques extraits, "La scie de la vision moderne" trouve sa source dans l'exploration fantastique d'un rêve, "La voyance" est une dénonciation politique tout en ironie, "Amours velours" se déploie tout en douceur et sensualité et "Délivrance" aborde la mélancolie de la mort.

Ces morceaux, résolument tournés vers la chanson avec le piano comme instrument majeur, ont été enregistrés en décembre 2021 et mixés en février 2022 à Londres au studio Haha Sounds de Syd Kemp. Julien Gasc y est accompagné par un groupe avec notamment : Livvy O' Hagan, Victoria Hamblett et Marie Merlet au chant, Cédric Monzali à la batterie, Harry Stevenson au pedal steel guitar, Eno Imwang aux percussions et Rick Walker à la guitare. Syd Kemp, bassiste de longue date du band, assure la production artistique de cet enregistrement, il crée un écrin élégant et chaleureux pour ces chansons pop douces et amères, bercées parfois par des rythmes brésiliens.

Enfin, non loin de se résumer à son titre, RE EFF est un acte poétique de résistance au conformisme, une ode à la fantaisie du quotidien et à la complexité des sentiments. Tout en gardant sa part de mystère, Julien Gasc confirme ici son talent de poète élégiaque, tel Narcisse se reflétant dans le miroir pour mieux appréhender l'âme humaine.

Texte par Laure Delsaux.


Originally Re Eff (pronounced Ri Èf) was a bunch of texts. One hundred and fifty pages that Julien Gasc wrote by trying his hand at the art of cut-up: a literary and political act of counter-fiction based on William Burroughs’s method. It was also Julien Gasc’s response to the isolation of 2020, while he was seeking refuge in the Southwest of France, with time as far as the eye could see, and a piano.

For a long while, it hadn’t been about songs, but about expressing the indescribable by cutting randomly from books and his own notes, attempting to fleetingly strike a balance, find a beauty, a happy accident. Incidentally, it was almost by accident, while recycling a piece that he’d composed for steel guitar pedal, that Julien Gasc sketched the first draft of “Ce soir les bouteilles dansent” (“Tonight the Bottles Are Dancing”). This was combined with a version of “Rosario Bléfari”, recorded on an inexpensive Casio synthesizer. These were Re Eff’s baby steps.

While everything was at a standstill, in stasis, Julien Gasc wanted to send a group message to some friends, to his family, a message from a confinee to those who weren’t answering, friend or foe, imaginary or otherwise. It was this collective recipient that he nicknamed Re Eff. The name comes from “re” (re-) and “effacer” (erase), words found during a cut-up and transformed into ri èf for added euphony, like a facetious grief (grievance, reproach in French) without the “g”.
Like its title, a kind of serious joke, the album is one long interplay between humour and gravitas, sense and nonsense, shadow and light, aiming to fully describe feelings in terms of their ambiguous and contradictory elements.

Through a return to regular piano practice, calm recovered at a holiday resort town, and literary experimentations, to which he added transcribed dreams, as in “La scie de la vision modern” (“The Saw of Modern Vision”), Julien Gasc composed ten demos on his computer. These demos were then rerecorded at Syd Kemp’s Haha Sound studio in London, in December 2021. The mix was completed there again, in February 2022, by Syd and Julian.

Play to play and write to write, those are the keywords of Re Eff, in which memories are freely combined (“À travers le regard de l’indienne” / “Through the Amazon’s Eyes”), the theme of enclosure and passion (“Amour velours” / “Velvet Love”), melodrama ("Délivrance"), and romantic novella (“Tout ne peut pas nécessairement donner quelque chose” / “Not Everything Leads to Something”). Music resolutely oriented towards the piano, towards bold and filmic harmonic movements that make a successful form of lyrical poetry possible. Because all in all, by singing about current events – his own and those of the world – in an elegiac tone, like bards, Julien Gasc was gradually transformed from pop singer into poet.

Words by Joseph Sainderichin


A1. La scie de la vision moderne
A2. La Voyance
A3. Je viens déposer à tes pieds
A4. Amour Velours
A5. Rosario Bléfari

B1. A travers le regard de l'indienne
B2. Re Eff
B3. Tout ne peut pas nécessairement donner quelque chose
B4. Délivrance
B5. Ce soir les bouteilles dansent

Julien Gasc

Corps Double