Grégoire Jokic

From the black and white of Grégoire Jokic's piano, iridescent colors burst forth. These are the electronic textures that the former Conservatory student tames, orchestrating a dialogue between his seasoned piano-playing technique and his sensitivity as a young composer. After experiences in bands, discovering the music of John Hopkins and Max Cooper acts as a revelation. Through electronics, he seeks to recover a freshness and spontaneity to better unleash his inspiration and let himself be carried away by emotion. Does Grégoire Jokic fit into a French piano tradition? Undoubtedly, given his taste for themes and melodies heard across the ten tracks of Daydreamer. But for this second album, the composer grows in confidence, making 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 offers an opportunity to rebalance the piano's place throughout the listening experience, with the stage in mind where Grégoire takes great pleasure in playing his instrument, with which he shares a fusion bond. With his numerous opening slots for Thylacine and his work on Daydreamer, Grégoire Jokic further refines his style. He experiences music as a thrilling exploration, an ideal quest whose primary goal is to seek connection with one another.