Since 2016, Glass Museum’s raw, sunny energy has been uniting the surgical precision of the best contemporary jazz, a la Gogo Penguin and BADBADNOTGOOD, with the electronic influences of Jon Hopkins or Floating Points. Deux, the first album from pianist Antoine Flipo and drummer Martin Gre´goire, hunkers down in the battle between the two instruments, producing lively, warm musical matter. Every song encouraged a remix, which were taken on by DJs like Haring and DC Salas to respond to the encounters between the music; consequently, Deux has become the ultimate modern marriage between pure traditional jazz, orchestral arrangements, and the mathematics of electronic music.
Deux, released in May 2018Read more
Melodies narrating landscapes, constructed by syncopated rhythm. A lively piano, and drums that meticulously measure every heartbeat. Images recalled and distortions invented. Cleverly orchestrated songs and reflexive remixes. The melancholy of vast nights, and the light that warms them.
In the spring of 2016, at the dawn of their endeavor, Glass Museum was conceived of as a pair—at the time, Martin Gre´goire and Antoine Flipo could only count on one another. Carried by their victory at the tremplin de Dour (“springboard” of Dour) after only several weeks of existence, they then needed to create a foundation of living musical material to carry their scrupulous tracks, all based on a battle between the drums and the piano. Two years, fifty-some concerts, and several awards (among them, their 14 at Concours Circuit’s final) later, the male duo is turning a new leaf with their album Deux.
Recorded at Rubens Studio, these six tracks tell the musical stories that they’d begun at the Botanique and the Waves Festival in Vienna, with a detour through the Tournai Jazz Festival. Infused with modern jazz influences, a la Gogo Penguin and Badbadnotgood, as well as with the electronic sounds of Jon Hopkins or Floating Points, Deux is also a tribute to Antoine’s classical origins (and party spirit) within Uncle Waldo and Gustave Brass Band, and an homage to Martin’s formation within rock, anchored in the post-rock groups of the past (Perils of Penelope and Rince-Doigt) and his drumwork of the present (Ulysse and DC Salas).
Reminding us that there are always two sides to every story, Glass Museum banded together with 6 collaborators for this release, each claiming one song as the base for a unique remix. On stage, the music becomes warm and full of life, often supported by traditional jazz improvisations and regular collabs with other musicians — Pierre Spataro of Oyster Node or even the trumpet player Martin Pichaut. The mise en scene, an idea from a concert with la Cie des Planches, will soon appear in concert as an experience in which light joins sound.