Grégoire Jokic at Le Point Ephémère

After experiences in bands, discovering the music of John Hopkins and Max Cooper acted as a revelation. Through electronics, he seeks to rediscover a freshness and spontaneity to better release his inspiration and let himself be carried away by emotion. Does Grégoire Jokic fit into the history of French piano music? Undoubtedly, as one can hear his taste for themes and melodies throughout the ten tracks of Daydreamer. But for this second album, the composer gains confidence and makes the piano one of the characters in the story he tells us. Grégoire Jokic is naturally optimistic, yet one cannot help but detect a form of melancholy in his music. The title track of the album is an opportunity to rebalance the role of the piano as one listens, with the image in mind of Grégoire taking great pleasure in playing his instrument, with which he has a deep, symbiotic relationship. With his numerous opening acts for Thylacine and the work on Daydreamer, Grégoire Jokic further refines his style. He experiences music as an exciting exploration, an ideal quest whose primary goal is to seek to connect us to one another.