Yann Encre (on MySpace) is a great paradox. In France, no one can really put him into any category. Yann's music encompasses Gainsbourg and Jacques Brel’s songwritings, Leonard Cohen or Bill Callahan’s folk, Rachel’s neo-classicism, Nico’s bewitching melodies, Lee Hazlewood’s gloomy arrangements and organic electronica’s preciseness. Almost three years after its first album, he releases a truly ambitious and polished up new opus that blends delicate organic instrument fragments and tightly knit...
Yann Encre (on MySpace) is a great paradox. In France, no one can really put him into any category. Yann's music encompasses Gainsbourg and Jacques Brel’s songwritings, Leonard Cohen or Bill Callahan’s folk, Rachel’s neo-classicism, Nico’s bewitching melodies, Lee Hazlewood’s gloomy arrangements and organic electronica’s preciseness. Almost three years after its first album, he releases a truly ambitious and polished up new opus that blends delicate organic instrument fragments and tightly knit collages with an unequaled complex syntax. FLUX is the outcome of a spontaneous as well as perfectionist process (only slightly outlined by the first opus). Its eight atypical orchestral pieces are overall more instrumental and focus on the blurring of the so far tangible boundaries between the sequenced and the played, by applying sequencer syntax to the most carnal tones. Words evoke individual flight and tumble on themselves into a well orchestrated chaos.
