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New album Terre II

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Julian julien - Terre II

By: octopus-4 - Décember 8, 2015

 Julian Julien is one of those artists able to fill their music with "feelings". This sequel to Terre is classified as jazz- rock, but it gives me the same sensations that comes from listening to Claude Debussy. The "Prologue" sets up the mood which may appear dark, initially, but it's dreamy and ethereal, like fixing a fire and fell hypnotized. If so, "Terre II" is like waking up in a different land. I imagine the landscape of the cover picture. The Bass clarinet riff is remarkable.

The tracks from Iris I to Iris VI are defined as "interludes" by the composer, but to me they are more than this. I can hear a Floydian influence, too. "Ailleurs" Reminded me a bit to Lucia Hwong's "Secret Luminescence" for the mood and the instruments, but instead of the Asian landscapes I think to the last stanza of Rimbaud's "Le Bateau Ivre", the dark and cold water of a puddle in Europe.

Another Iris then comes. It's excellent with its sort of heartbeat and the noise in crescendo. Then Iris III. Why are they called interludes (by the artist himself)? They are well developed tracks, surely there's more happening in the couple of minutes that every of them takes, than in many "electronic epics".

"Un Attente" is explained by the author as a person, man or woman, waiting for the answer of a girlfriend or a boyfriend. The obsessive percussion on which piano and cello build the melody give the idea. This is the first track with vocals, intended as "dumb singing". Slow and sad, it makes me think, with the obvious differences, to The Snow Goose. The vocal armonies are intriguing.

Another interlude: Iris IV. Not just an interlude for me. The screaming sax gives life to an excellent jazz piece.

The composer says "Doudou" is about Childhood's End. The sadness of living something behind, maybe... The sound of bells reminds to a musical box. Itìs like an alternance of looking backward and forward. Honestly I wouldn't be able to interpret the music in this sense without Julian's suggestions.

Iris V lightens the mood opening the way to the excellent "Non-Sens". Julian Julien says that he's got the inspiration from a picture of graffiti on a wall. Nowhere to go, no way out, and a thought to the Greek people in their deep echonomical crisis. With this subject I would have expected a track full of haste. Instead, the music is introspective and dark. I hear similarities with some parts of Vangelis "Heaven and Hell" but the dreamy atmoshphere brings Debussy again to my mind. The trumpet here deserves a mention. Really a great track.

The last Iris, the 6th, made of bells like Balinese music, then the final: "John Barry". I think it's the composer of the famous James Bond's themeother than a huge number of sountracks for cinema and TV. The kind of sounds used seems to confirm it. A hommage to the composer, nothing like Bond, anyway.

This is "compact" album. It can be enjoyed like a single suite even if all the tracks retain their individuality. Arrangement and production are excellent and if one is in the right mood, it can be perfect: I'm lazying in a dark December afternoon what can be better than this?

4 fully deserved PA stars and one of the best things I've listened to in 2015.

Julian julien - Terre II

By: Florence Ducommun - Décember 5, 2015

« Terre II » est un disque atmosphérique qui m’a envoûtée à plus d’un titre, c’est le cas de le dire...Julian Julien se définit lui-même comme un compositeur de musique progressive, avec les a priori qu’on peut coller à cette étiquette ; car ce saxophoniste ( ici aux percussions) est bien plus éclectique. Nourri d’influences multiples comme John Surman, Keith Jarrett, Nils Petter Molvaer, Michel Portal mais aussi Pink Floyd, Zappa ou Soft Machine, ce grand voyageur et tête chercheuse s’est frotté à tous les courants de musique et a même composé des BO de films. Nous voilà donc une fois de plus à la frontière du jazz, n’en déplaise à certains puristes.

Ce cinquième disque, qui se veut le pendant de « Terre » paru il y a quinze ans, a eu d’abord comme projet d’être associé au travail de plusieurs photographes que l’on peut voir sur Youtube ( Un « Prélude » somptueux sur des paysages en noir et blanc de Sylvain Lagarde, un inquiétant et mystérieux « Iris I » sur les clichés de Junku Nishimura, le non moins flippant « Iris II » sur les photos de Rebecca Cairns, le sublime et poignant « Iris III » sur le conflit irlandais vu par Chris Steel Perkins de l’agence Magnum, l’étrange(r) « Ailleurs » magnifié par les clichés de Krishnendu Saha et enfin le joyeux « Terre II » sur les paysages minimalistes de Franck Follet.) et c’est franchement une réussite.( https://www.youtube.com/watch?v=Rnk...)

Par ailleurs, Julian Julien s’est entouré de musiciens tous plus talentueux les uns que les autres : citons entre autres Rémi Dumoulin de l’Orchestre National de Jazz à la clarinette basse et Médéric Collignon au cornet sur plusieurs des plages. Ce dernier ne pouvait que s’associer à cette aventure, lui qui aime tant exploser les frontières ; et des morceaux comme « Iris III » et surtout « Iris IV » ou « Non-Sens » sont pour moi des petites merveilles. Seul le dernier morceau « Mr John Barry » se détache de cet ensemble très cohérent, pour un hommage à ce compositeur britannique de musique de film admiré par Julian Julien ( connu en particulier pour la musique des James Bond jusque dans les années 80, mais aussi la musique de Out of Africa ou Danse avec les loups). C’est comme un petit pied de nez aux puristes où les saxophones de Michael Havard s’en donnent à cœur joie.

Voilà donc un disque singulier aux univers multiples qui m’ont transportée au-delà du réel, loin de la musique purement électronique à laquelle on aurait pu s’attendre. A découvrir absolument en vous laissant aller.

Julian julien - Terre II

By: Hiko - Décember 3,  2015

Artiste multi-instrumentiste et globe trotter, Julian Julien est le genre de musicien qui n'entre dans aucune case bien définie, rompu à la musique classique lors de ses classes au CNR de Paris, il s'essaie au jazz et au rock puis s'abreuve des pulsations world glanées lors de voyages en Asie.

Il publie aujourd'hui le second volet d'un polyptique entamé en 2000 avec Terre. Largement dominé par un esprit chill aux reflets électroniques délicats, l'univers musical métis de Julian se déploie à la lisière de plusieurs genres. Si la liberté d'improvisation et la sophistication du jazz transparaît en filigrane dans des titres comme Iris IV, porté par les phrasés du saxophoniste Michaël Havard et du flûtiste Siegfried Canto, on devine aisément les influences de compositeurs de musique de film tels que Nino Rota ou John Barry, à qui il dédie même son sensuel et groovy Mr John Barry. Un Terre II très cinématique donc mais pas que, puisque le Syrinx de Claude Debussy plane au dessus d'un Ailleurs aux accents éthiojazz et que Non Sens batifole avec les sonorités krautrock.

Tenant son rôle de chef d'orchestre très à cœur, Julian se fait assez discret. A l'origine des 13 compositions de l'album il y distille savamment et avec retenue ses qualités de percussionniste, sound designer et claviériste, mettant ainsi en avant les interventions de ses invités et acolytes. On notera alors le chant ensorceleur d'Hélène Argo dans Une Attente enivrante épaulée par la violoncelliste Adeline Lecce, ou bien la souplesse et la virtuosité du cornettiste Médéric Collignon dans les Iris III et IV. Rémi Dumoulin impose quant à lui sa puissante clarinette basse dans l'inquiétant Prélude et dans sa suite très jazzy Terre II.

Julian julien - Terre II - Jazz from Zheul!

By: admireArt - Décember 3, 2015

Julian Julien's, 2015, "Terre II" displays entirely why do the modern Jazz/Rock/Fusion styling was included in a Progressive Rock page like this one.

From the very beginning to its last seconds this release projects musicianship of a higher level. Its compositions are friendly (prog like friendly, of course) but not by condescending their musical idiom, opposite to that they do so by being daring, deep, focused, experimental and joyful altogether.

The minimum use of "allowed cliches" to sound modern or prog is quiet welcomed. Its richness in instrumentation provides a refreshing start for each composition to detach itself from its predecessor, as they also construct different musical directions, sometimes Big Brass Band like, sometimes Prog/electronic like environments , others Post-Jazz tainted, others Zheul darker and mysterious or some Rock in Opposition like constructed and other subtle and non-stop pleasurable surprises.

A breeze of healthy new air that trascends its "taggins" by being original in its musical language and that my friend, in this world, is pure-gold.

Do not deprive yourself from this earthly pleasure!

Fra øverste hylle - Julian Julien - Terre 2
  
av Ulf Backstrøm - November 30, 2015

Franskmannen med det temmelig likelydende for- og etternavnet er ute med sitt tredje soloverk. Som alltid fra frontmannen i zeuhlbandet Fractale er det rimelig subtil progressive jazzrock som er på agendaen. Denne gangen har Julien utvidet sin vilje til å eksperimentere og dyrke ny musikalsk mark. Det høres ut som et smart og klokt trekk for meg. Klokt trekk og i alle fall spennende er det at «Terre II» er inspirert av filmregissører som Kubrick, Antonioni og Fellini og litteraturen til José Carlos Somoza, Richard Ford, Olivier Adam og Colum McCann.

I tillegg så har Julien samarbeidet med dyktige fotografer fra flere land, og invitert til assosiasjoner og en sammenhenger mellom musikk og bilde/grafikk. «Terre II» er et langt over gjennomsnittlig ambisiøst prosjekt som rimelig vellykket lager et «soundtrack» eller på bedre norsk, film lydspor av nevnte fotografers bilder. Skiva klokker inn på litt over timen, og det er diverse spennende progjazz landskaper som presenteres. «Terre II» er et mer klangfullt verk enn forgjengeren, og det alterneres mellom frijazz jam og ambient filmaktig musikk.

«Prélude» er en virkelig vakker og appetittvekkende start på skiva. Dermed er startskuddet gått for en serie med musikalsk snacks. Snacks som er både smektende og smakfullt, og med rikelig variasjon, stor vilje til eksperimentering, mothaker og overraskelser. Skiva har også en klar dreining mot en rimelig flittig bruk av programmering, noe som lett kan ende med et musikalsk mageplask om det ikke utføres med omhu. Noe mageplask blir det slett ikke»! Julien har et klart konsept og er tro mot det, og er i tillegg en virkelig dyktig til å anrette musikk.

    «Oppfinnsom og velsmakende»

En musikk som stort sett er instrumental, med unntak av den rett så oppfinnsomme låten «Une Attante» hvor Helene Argo har en flott ordløs vokal. Oppfinnsom og gjerne mer til er så absolutt også den seksdelte låten «Iris», som blant annet nennsomt tidvis er smaksatt med velsmakende krautrock krydder. I tillegg så tilkommer en varme, eleganse, og velformet ro i musikken som står skulder ved skulder med en mer episk instrumental bruk og improviserte soloer. Skiva er et stykke musikk med rikelig raffinerte atmosfæriske og stemningsfulle lydlandskaper som definitivt er minimalistisk men intrikate. Musikken byr også på en høyst vellykket sjangerslalåm og en variasjon som gjør at selv nesten uten vokal så er det musikk som lett setter seg i hjernebarken.

Det kompositoriske og arrangementene er hentet fra øverste hylle, hvor også gjestemusikerne er hentet fra! Den korte låten «Iris II» bør være en smart plass å starte for de som vil bli kjent musikken til Julien. En rimelig futuristisk, uhyggelig og dramatisk låt som er potent men også med rislende spacevibber. Julien brekker oss opp verket med å levere en og annen disharmonisk linje her og der, og det frisker ytterlige opp ei fra før av spenstig skive. Ei skive med eklektisk ambient jazzprog som det er en fornøyelse å lytte til, og som gir denne anmelderen stor glede!

Julian julien - Terre II
By: Bob Hatteau - November 24, 2015

Saxophoniste, percussionniste, programmateur, compositeur… Julian Julien publie en autoproduction un premier disque au titre éloquent : Tupperware et bibelot. Suivent Terre en 2000 chez  Priskosnovénie, Strange en 2007 chez Cristal Records et, en 2010, Suranné, enregistré avec le septuor Fractale pour le label A bout de son, que Julien a créé pour produire sa musique.

Terre II sort aussi sur A bout de son. Julien se charge de la plupart des parties musicales, mais convie également d’autres artistes pour étoffer sa palette sonore : la voix d’Hélène Argo, la guitare de Guillaume Billaux (par ailleurs ingénieur du son pour Terre II), la flûte de Siegfried Canto (également directeur artistique pour le disque), le cornet et la voix de Médéric Collignon, la clarinette basse de Rémi Dumoulin, les saxophones et clarinettes de Michaël Havard et le violoncelle d’Adeline Lecce. Julien signe les quatorze morceaux, plutôt courts (à l’exception de « Non-sens »).

Julien revendique les influences de Keith Jarrett, Michael Nyman, John Surman et les musiques de films, en citant John Barry (à qui il dédie un morceau) et Nino Rota. Avec ses jolis thèmes, plutôt concis (« Mr John Barry »), et ses développements progressifs (« Doudou »), Julien fait évoluer les lignes mélodiques dans des décors électro tour à tour aériens (« Iris IV »), lointains (« Préludes »), mystérieux (« Iris III »), psychédéliques (« Iris V »).  Les ostinatos (« Une attente »), les pédales (« Non-sens »), les effets bruitistes (« Iris I ») et le minimalisme (« Une attente ») évoquent également la musique répétitive américaine. Orientale (« Iris III »), debussyste (« Ailleurs »), emphatique avec un côté Enio Morricone (« Non-sens ») ou synthétique comme une BO de science-fiction à la Jerry Goldsmith (« Prélude »), Terre II met avant tout l’accent sur les ambiances. C’est sans doute pour cette raison que Julien compose abondamment pour le cinéma et le théâtre, mais aussi qu’il collabore avec des photographes, à l'instar de Franck Follet ou, pour Terre II, avec Chris Steele-Perkins, Rebecca Cairns, Saha Krishnendu, Junku Nishimura...

Dans Terre II, Julian emmène l’auditeur à la visite de sa planète musicale électro raffinée, à la fois mélodieuse et percussive.

Julian julien - Terre II
By: Torodd Fuglesteg - November 21, 2015

The third album from this French musician.

I very much liked the first installment of this series of Terre albums. That album was released fifteen years ago. He released his second album Strange in 2006. In the meantime, he has been active in other bands and with other things.

Julian has got help from seven other musicians here. Mostly violins, vocals, piano, bass, woodwinds and some percussions.

They are not present on all the thirteen tracks here. This forty-five minutes long album is very much a stripped down RIO album. A stripped down avant-garde album, it is indeed. A couple of instruments drives each tracks on. The emphasis is on mood and ambience. A bit of a mad trumpet and some keyboards with some vocals inbetween.

This is indeed pastoral music and not easy to get into. I have been struggling a lot with this album and I am pretty sure Julian Julien is wondering if I will ever review this album. It has been a struggle indeed....

.... But I quite like this album. It is an album very far from the beaten track. Even far away from what I am used to review. So I have been struggling and I have finally started to like this album in it's own right. There are some very good stuff here and some not so good stuff. The end result is a good album which I recommend to those into RIO and avant-garde music.

3 points

Julian julien - Terre II

By: zravkapt - November 17, 2015

A follow up to the 2000 album Terre, this is the latest album from French composer/musician Julian Julien. Some may know him for his work in the project Fractale. Julian studied classical music and has been playing the saxophone since he was nine. This album is meant to be experienced along with photography provided for the album. This isn't bubblegum pop - this is real art. Here Julian himself does not play sax but leaves that duty to Michael Havard, playing percussion and electronics himself (as well as composing the music itself). Almost completely instrumental (with the exception of one track with vocalist Helene Argo), the music itself can be described as a mix of jazz, classical, electronic, ambient, chamber rock and avant-garde. Looking at reviews of this release, one will see references to: artists on the ECM label, Tangerine Dream, Art Zoyd, Weather Report, Brian Eno, Tortoise, Keith Jarrett and John Barry. The first half of Terre II is more jazz and classical oriented while the second half is more electronic and avant-garde. The instrumentation is varied and features a lot of wind and string instruments.

"Prelude" is a nice opener. A mix of jazz, classical and ambient. The title track is more trad jazz that has a 'rock' feel although there is no electric instruments. "Ailleurs" is an interesting mix of jazz and ambient electronic. The way it develops it almost turns into acoustic Berlin School. There are six tracks spread throughout the album with the name "Iris" and all are short and electronic-oriented. Part V stands out to me because I am reminded of IDM groups like Autechre and Boards Of Canada. "Une attente" has the aforementioned female vocals. A capella at first but later joined by percussion, bass and piano. Other instruments join in and vocals are multi-tracked to create harmony. "Doudou" has a MidEast feel to it. Halfway a repeated electronic melody which could have come from a Tangerine Dream or Mike Oldfield album dominates. "Non-sens" is the longest track and one of the highlights. Starts out sounding like Tangerine Dream or Klaus Schulze. After 3 minutes trumpet comes along and the rest of the music is more rhythmic.

"Mr. John Barry" is the album closer and yet another highlight. Named after and influenced by the late film composer of the same name. This sounds similar to some of the stuff Julian was doing with Fractale. Great melodies over a solid rhythmic foundation. Great sax solo as well. Overall a really good release. Terre II has a nice flow to it and is sequenced in a way beneficial to the music itself. A mix of shorter and longer tracks which go by flawlessly. A great production as the music sounds great. If you are a fan of any of the artists I mentioned at the beginning of this review, then there is a possibility you may enjoy this release. However, the music here is not derivative and can't really be compared to the work of others (in full, only in parts). Terre II is a digital release that can be purchased from Julian's site at www.julianjulien.com. I will give this release 4 stars.

Julian julien - Terre II
By: Grego Applegate Edwards - November 9, 2015

I have not been previously exposed to the music of Julian Julien before but I am very glad to make its acquaintance now. The latest, Terre II (self-released) is a set of compositions in a sort of ambient pulsating mode for a mid-sized ensemble that includes vocals, reeds, guitar, cello, percussion, keys, electronic ambiance, etc.

There is improvisation involved (well done) and an overall cohesion compositionally that gives the ensemble a spacey consistency born of Julian's clear objectives. The music is harmonically based, colored sound that has a homogenized togetherness that is on the artist side of musics that might otherwise be classified as smooth or new agey. This is music too contentful to be relegated to that realm.

Yet it has a kind of universal appeal that might attract listeners not often inclined toward the new. The writing for horns and cello stands out as singular.

I find myself liking this music as I listen more. It is distinct; it holds its own. It is not what one might expect but a good listen puts you on its wave-length. Lend your ears to this one for a new wrinkle!

Julian julien - Terre II

By: Snobb - November 6, 2015

French composer/saxophonist Julian Julien third album's title "Terre II" means more time's mark than continuity with his debut "Terra" released 15 years ago. Originally a soundtrack to series of works of different photographers from all around the world,it obviously has strong cinematographic feel.
Surprisingly,Julian doesn't play sax but percussion here (programming is credited to him as well; there is guest sax player Michaël Havard participated in recording). All music is very liquid,combining white and dark ambient with chamber pop, some elements of electronics rock and jazz.

All elements are connected/mixed quite organically and in clever proportions - nothing dominates here and the music in whole flows free and quite logically.

As with any good soundtrack, music builds atmosphere that almost doesn't require visual line, sound itself is expressive enough to stimulate imagination. At the same time, as with many soundtracks internal development isn't all that clear without visual line, so generally the music starts nowhere and goes same way. Differently from myriads more ambient-based works around, presence of live musicians on recording adds enough lifelines to save it from boredom.

An interesting work for fans of soundtracks and possibly, exotica.

Julian julien - Terre II

By: Philippe - November 7, 2015

It took many years but our fellow avid listener / composer of refined prog jazz inflected soundscapes Julian Julien is back with a new release, this time produced in digital format. During a breaking time from his solo musical adventures Julian formed the 'Cosmicadelic' jazzy collective / neo prog live band Fractal and published an album entitled 'Surann'. He also illustrates himself in the writing of a handful of classical scores for short movies of various genres (drama, thriller'). 'Terre' I was a solid exploration into orchestrated, melodiously and delicious groovy jazz rockin hymns with touches of micro-tonalism (classic minimalist / pattern music) and original, discreet Eastern elements.

This new album is a more frantic orientation into free-jazz jam components with a vigorous inclination for music for films and short-form ambient impressionist-like music. The 'Iris' serie almost includes hypnotically seductive grooves with a discreet kraut-rockin flavor. For my ears the experimental-Electronic based textures are more obvious than on Julian's past releases and certainly that the softly cinematic touch has something to do with his recent compositional works for films.
The general music tendency is warm, dynamic and eloquent and the typical progressive rock sound is well exposed in the use of arrangements, epic instrumental side and soloing improvs. The album includes a bunch of interesting guest musicians active in the jazz musical spectrum but not only. 'Terre II' is a beautiful and inspiring release, recommended for fans of Codona, Collin Walcott, Steve Tibbets (for the multi-dimensional jazzy prog side), Cluster and Harmonia (for the krautrockin echoes), Wim Wertens and Michael Nyman (for the contemporary classic music side), Krzysztof Komeda (among others) for the cinematic approach. An eclectic ambient jazz - prog rockin album and a pretty good companion to 'Terre I' as well.

Julian julien - Terre II

By: Michele Bordi - October 21, 2015

Julian Julien, sassofonista e compositore francese, ci aveva dato dimostrazione delle sue abilità al sax in “Suranné”, lavoro datato 2010 del progetto “Fractale”. Il talentuoso transalpino mette da parte per questo nuovo lavoro le composizioni zappiane del passato recente, spostando il fuoco della sua ricerca verso una paletta di colori più vasta tra flauti, percussioni e sintetizzatori in un album che affonda decisamente più del solito le radici nel jazz.

Il risultato è un viaggio tra scenari variegati in un paesaggio sonoro spesso sinuoso e ovattato, sempre coerente e credibile. “Terre II” non è un insieme di tracce ma un percorso che si evolve e si snoda secondo tappe ben identificabili: dalle melodie “dondolanti” della title-track alle improvvisazioni sassofoniste di “Ailleurs”, fiancheggiate dai virtuosismi alla tromba di “Non-sens”. Il concept che sta alle spalle di questo lavoro è suportato da collaborazioni con numerosi fotografi di tutto il mondo, mirato a creare un’opera musico-fotografica collaborativa.

Fughe strumentali solistiche, seppur discrete e ben lontane da certe tediose dimostrazioni di estro, supportate da stratificazioni dal sapore folk richiamano certi lavori di Mike Oldfield, pur ben distanti dai sontuosi eccessi del leggendario compositore britannico. Il gusto progressive di Julian Julien, mai come in questo caso solo accennato, è tradito dall’uso esteso degli intermezzi “Iris” che interrompono i sinuosi scenari sopracitati come delle fredde lame, algide come le sonorità che offrono. A volte l’atmosfera prevale sulla sostanza: un episodio come “Une Attente” avrebbe probabilmente giovato di maggior concisione, ma nel complesso siamo di fronte a un lavoro che con i suoi 45 minuti offre sostanza e classe, scongiurando la pessima abitudine di farcire fino all’orlo un supporto ottico ormai sempre più anacronistico.

Julian Julien torna a proporre lavori interessanti e più che godibili, attraversando le sue molteplici passioni. La sorpresa finale arriva quando il compositore scopre le carte omaggiando l’illustre collega John Barry nella conclusiva “Mr. John Barry”. Davvero un buon lavoro!

Terre II, a must for folk who can appreciate intelligently composed and arranged music.

By: Roger Trenwith

Continuing my current delving into the world of modern jazz-influenced progressive music, and following on from my review of the rather tasty Akku Quintet album, here we have another slice of European exotica.

Taking up the saxophone at the age of 9, Julian Julien has become a highly accomplished musician, having studied classical music before composing his own material, as well as playing in numerous jazz and rock bands. Terre II is his third solo album, and here he passes saxophone duties to the highly accomplished Michaël Havard, leaving him free to concentrate on composing, arranging and programming. Julian’s classical background mixes with his jazz sensibilities to produce an intriguing blend of the two musical styles, exemplified by the lilting opener Prélude, a piece that combines a flute-led madrigal with slinky jazz bass to great effect.

The album is an ambitious project that soundtracks the work of several photographers, and Julian is thinking of arranging an exhibition featuring the work of the snappers concerned with his music as accompaniment. Although the music works well in its own environment, the pairing of sounds and images is highly evocative, as you can see from the video below:

This is the illustration to Iris III, which enters a new age territory that fans of Theo Travis’ work with Robert Fripp will be familiar with. The following Une attente surprises with its upfront wordless but nonetheless very poetic vocal, and is another imaginative slice of soundscaping. A feature of the music is the highly crafted expansive sense of silence within the music, which leaves vapour trails in the blue stillness it passes through. Minimalist yet intricate, the album is the work of a highly skilled craftsman.

The trio of tracks Iris IV, Doudou, and Iris V make for an interesting sequence, with minimal abstraction underneath a horn venturing into free jazz territory leading into the melancholic electronica of Doudou, and ending with the retro-futuristic Iris V, which recalls the esoteric end of the synth-experimental Krautrock scene with its glacial serenity.

It is interesting to note that the jazz and classical influences of the first part of the album are now seemingly left behind, as space debris floats through the cosmic drift of Non-Sens, only for those tropes to return for the main part of the tune, a gorgeous otherworldly piece of jazz-chamber rock that slowly becomes ever more confident, with some great cornet blowing from Médéric Collignon.

It is fitting that an album of what is essentially soundtrack music ends with a tribute to the master of the genre, and apparently Julian’s favourite composer. Mr John Barry sounds exactly as it should, you don’t need me to explain!

With Terre II Julian Julien has made a really good album that effortlessly transcends genres, is highly emotive and evocative, and is a must for folk who can appreciate intelligently composed and arranged music.
Roger Trenwith, The Progressive Aspect

Julian Julien - Terre II (Self-released)
October 2015, by Elizabeth Klisiewicz

I want to say up front that I don’t commonly review jazz albums, nor do I have great knowledge of that musical genre. But I do know what I like, and I certainly have enjoyed listening to this album that was sent to me for review. Julian Julien is a French jazz composer and saxophonist who has created a lovely, atmospheric jazz album with classical and world music overtones. Joined by a host of talented musicians on flute, clarinet, strings, and brass, Julien has produced a wonderfully captivating album. Julien has traveled all over the world, and this has informed his musical oeuvre. Citing musical influences ranging from Keith Jarrett to film composer John Barry (who has a song with his name on it here), this album contains a wide-ranging palette of musical compositions. The concept behind this project attempts to harmonize music with the world of photography. Well-known musicians and photographers have collaborated on it, including musicians Médéric Collignon (2013 Jazz Victory) and Rémi Dumoulin (National Jazz Orchestra), and the English photographer Chris Steele Perkins (Magnum agency).

“Prélude” opens the album and is mysterious and entrancing with flute floating lightly over an ominous sonic foundation. “Terre II” has lilting clarinet meshed with what sounds like a harpsichord and some great trumpet playing. It is upbeat and really draws the listener in. It returns at the end to the opening theme, reminding me of much longer suites, only in miniature. “Iris I” is darkly compelling, short, and experimental, containing interesting sound bytes coupled with stark piano and cello. “Ailleurs” is floral tapestry, populated with the dancing notes of a flute and punctuated by horns and interesting percussion. The discordant bleat of a horn slightly disturbs the flow and grace, as I suspect it’s meant to. I hear saxophone in my left channel while flute emotes in my right channel. Quite the interesting separation of sound here. “Iris II” is roughly the same length as its predecessor “Iris I”, but its cinematic span suggests exotic locales. “Iris III” reminds me of music from UK series The Fall, and it is both mesmerizing and creepy.

“Une Attente” has the only vocals from Hélène Argo, and it has that classic, noirish feel from spy flicks. Only, the cello makes it rather more mournful than anything James Bond would have to deal with. “Doudou” has a slight Middle Eastern feel, and is quiet and contemplative. “Iris V” hops along with help from synths and beats, propelling it more into the experimental jazz area than some of these other sketches. “Non-sens” is much longer and stretches out to nearly eight minutes. It is spare and minimalist at first, then it picks up at around three minutes with trumpet and percussion. It curls back into itself with only keyboards and occasional drum beats percolating through at its end. “Iris VI” is another minimalist sketch, and is barely a minute long. And finally, we get to “Mr. John Barry”, which might be a tribute to this favored film composer. It has the earmarks of some nifty world music and hearkens back to the swinging 60s just a bit. I love when the horns join in, especially the wonderful saxophone work here. All in all, this is a very pleasant, well-conceived, and carefully composed album that will please fans of melodic jazz and ambient music.

An excellent album that is sufficient in itself and whose depth is able to seduce any enthusiast of “inner voyage” !

September 2015, by Pierre Dulieu

According to its title, “Earth II” appears to be the worthy successor to the album “Earth” released in 2000, an eclectic and hardly classifiable album which embraces chamber and jazz music with various worldwide influences.

Made up of 13 relatively short pieces (mostly running around three or four minutes), “Earth II “musical direction follows the same syncretism, offering soothed and evocative sound ambiences. There is no difficulty to associate those with pictures (notably similar to the ones  which illustrate the cover of the album). Close to past experiences developed by Brian Eno, Jon Hassell, Moebius and Roedelius, the textures are nevertheless richer than if they had been designed exclusively by synths. Indeed we feel the permanent presence of acoustic instruments such as the flute, clarinet or cello while along the pieces rise various improvisations which remind us Julian Julien’s close relationship with jazz and fusion (the album “Surrané” and his own project “Fractal”).

For instance to listen to Prelude and the title track that follows it: Both are written as a single piece whose solemnity is tempered by a haunted rhythm and which develops intertwined saxophone (Michaël Havard) and bass clarinet (Rémi Dumoulin) sequences. The homogeneity of this music is undeniable and shows the real work of "musical direction" lead by Julian. The same principle is applied on the magic “Non Sens “which also has a fantastic cornet solo by Mederic Collignon, himself a “high priest” of musical collisions of all kinds. However it is more “Iris” and its six sections distributed in a disjoint manner which represents the core of this disc. Mysterious, dark, sometimes suggestive the music opens to the great outdoors by installing a dreamlike poetic between heaven and earth that is reminiscent of some contemplative works by the trumpeter Mark Isham. And then there is this final track entitled Mr John Barry, dedicated to the composer of the James Bond’s soundtracks but also of Out Of Africa and Midnight Cowboy, which recalls and confirms the potential of the music offered by Julian Julien as an “emotional amplifier” of any visual.

That said, even without image “Earth II” is an excellent album that is sufficient in itself and whose depth is able to seduce any enthusiast of “inner voyage” !
Dragonjazz

Julian Julien "Terre II" (Eigenproduktion 2015)

Der Pariser Komponist Julian Julien veröffentlicht mit "Terre II" sein bereits viertes Album. Eingespielt in illustrer Runde mit Hélène Argo (chant), Guillaume Billaux (guitare), Siegfried Canto (flûte traversière), Médéric Collignon (cornet et voix), Rémi Dumoulin (clarinette basse), Michaël Havard (saxophone soprano, ténor et baryton), Julian Julien (percussions) und Adeline Lecce (violoncelle) sind neun überwiegend instrumentale Tracks experimenteller, sphärisch lyrischer Art entstanden, die Jazz, Fusion, Electronic, Avantgarde und Ambient in sich vereinen, folkloristische Muster integrieren, die nicht genau einer Folklore zugeordnet werden können, nachdenklicher bis tief melancholischer Atmosphäre sind und ungemein tief wirken. Die einzelnen Stücke sind relativ kurz gehalten. In manchem Fall nicht einmal zwei Minuten dauernd, vermittelt die Zeit der Einzeltracks keine besondere Aussage über die Qualität der Komposition. Das Album "Terre II" ist als geschlossenes Ganzes über seine 44:59 Minuten insgesamt wirkungsvoll und ausdrucksstark.
Julian Julien, der die Kompositionen schrieb und das Konzept schuf, arbeitete mit dem Produzenten Siegfried Canto, hier auch selbst als Musiker aktiv, und dem Soundingenieur Guillaume Billaux zusammen, die sein Konzept kreativ begleiteten und aufzeichneten. Der Klang ist ein Erlebnis. Die lautmalerischen Stimmen, die glasklar wahrzunehmenden Instrumente, hier der Hall, dort die Stille, die tiefe, empathisch eingefangene Klangatmosphäre des Werkes in seinen Einzelfacetten und als Gesamtbild - hier ist erstklassige Arbeit geleistet worden. Vermutlich kann "Terre II" als Klangreferenz eingesetzt werden. Zum einen eignet sich die abstrakte, tief lyrische und ruhige Musik wegen ihrer stilistischen Weltentrücktheit und künstlerisch hochqualitativen Präsenz, zum anderen die Qualität der Klangaufzeichnung. Hört euch die Triangel an!
So angenehm und einnehmend das Album ist - "Terre II" ist alles andere als Kaufhausunterhaltungsmusik. Sehr abstrakt, oftmals in harsche und fast freejazzartige Passagen verfallend, wenn zu Beispiel die Trompete in "Iris IV" radikale und aufregend expressive Läufe intoniert, sind kraftvolle fusioneske Ansätze und ambient-progressive Extravaganzen überwiegendes Thema aller Kompositionen. Hin und wieder, wenn ein Motiv etwas leichter wirkt, macht sich Filmmusik-Charakter auf, wie er dem Maestro Ennio Morricone gut gestanden hätte. Ein besonderes Gespür für volumige, abgrundtiefe Basstöne und -harmonien macht den wohligen Eindruck satt und rund.
"Terre II" wirkt in seiner epischen Ruhe skandinavisch. Die ausgefallene Art der Komposition mit starken Ecken und Kanten trifft diese Szene recht genau, die skandinavische Rock-, Avantgarde- und Jazz-Szene ist gespickt mit Bands, die in ähnlicher Art arbeiten.
Doch Julian Julien ist weder ein Komponist und Musiker, der sich einer Musiksprache widmet, die schon bereits vorhanden und etabliert ist, noch wird er sich gedacht haben, ‚skandinavische' Musik zu machen. Düstere, romantisch lyrische und expressiv avantgardistische Musik kam schon immer aus der Mitte Europas, in der Klassik, im Jazz, in der progressiven Rockmusik. Zudem klingt "Terre II" nicht wie Musik, die so bereits vorhanden ist, sondern eigen, intuitiv beseelt und inspiriert, sehr intensiv, vertieft und zurückgenommen, nicht darauf aus, durch überschießende Motive/Konstruktion zu punkten, sondern seine Seele, sein Leben aus sich selbst erkennen zu lassen.
Ich kann die Auseinandersetzung mit "Terre II" nur unbedingt empfehlen. Gewiss werden, zumindest teilweise, ungeübte Hörer abstrakter Musik diesen Klängen ebenso erlegen sein können wie Genre-Spezialisten.

Julian Julien: Terre II

Von Dieter Hoffmann am 13. September 2015

Julian Julien ist ein äußerst umtriebiger Künstler aus Frankreich, der neben der Arbeit an Film- und Bühnenproduktionen oder der Mitgliedschaft in einer Jazzformation nun auch sein bereits fünftes Solowerk vorlegt. Das mit „Terre II“ betitelte Album erklingt ausgesprochen atmosphärisch und fast ausschließlich instrumental. Dabei erzeugt es eine bisweilen mystische und beschwörende Stimmung. In jedem Fall ist es ein Album für ruhige Stunden.

Mitunter erinnert das Werk an instrumentale Alben von David Sylvian oder Mick Karn. Auch ein Eric Satie mag als Inspirationsquelle gedient haben. Julian Julien selbst gibt Fotographie als seine Inspirationsquelle an. Dabei steht für ihn die Beziehung zwischen Foto-Linse und der Foto-Entwicklung im Fokus.

Musikalisch stehen oft Solo-Instrumente wie Flöte, Kornett oder Saxophon im Mittelpunkt, die dabei auf einem Unterbau aus Jazz, Weltmusik und Avantgarde treffen. So zum Beispiel in den ersten beiden Titeln ‚Prélude‘ und ‚Terre II‘. In den ‚Iris I bis VI‘ betitelten Stücken wandert Julian Julien in Ambient-Gefilde ab. Diese zum Teil recht kurzen Stücke sind oft recht freie Klangkollagen. Einzig im Titel ‚Un Attente‘ steht textfreier weiblicher Gesang im Mittelpunkt. Den Abschluss des Albums bildet eine Homage an den englischen Filmmusik-Komponisten John Barry. ‚Mr. John Barry‘ erinnert dabei ein wenig an die Titelmelodie der Fernsehserie „The Persuaders“, im deutschen Fernsehen als „Die Zwei“ bekannt. Obwohl der Titel als solcher sicher gelungen ist, wirkt er im Album-Kontext etwas deplatziert. Die Qualität des Albums leidet darunter jedoch nicht.

„Terre II“ ist insgesamt ein entspanntes, gelungenes Werk, das Freunde von Jazz-Fusion, Avantgarde- und Ambient-Klängen sicher begeistern wird. Darüber hinaus kann es auch mit gelungenen Instrumenten Soli punkten.
Bewertung 11/15

Julian Julien: Terre II (2015)
By KARL ACKERMANN,
Published: September 16, 2015

French composer/saxophonist Julian Julien has a growing fan base and a rich portfolio of work within his native country, reflecting a wide interest in genres, cultures and media. With his first composition of note coming in a 1993 Sorbonne University project, Julien went on to release his first EP album Tupperware et Bibelot (Self-produced, 1999). While he later travelled throughout Central and Southeastern Asia, he absorbed ethnic influences that would eventually be incorporated into his increasingly eclectic style of writing.

Terre II is less of a sequel to Terre (Priskosnovenie, 2000) than the name would imply. While many of the same musical influences are present (Keith Jarrett, John Surman and film composer John Barry), Julien now works more with silence in the midst of the nuevo-jazz, chamber music and soundtrack dramas of his previous recording. There is also a strong element of European folk music that is becoming increasingly present in the continent's modern music. Terre II is also a concept album where Julien has worked with photographers from Europe, Asia and North America to realize a collaborative musical cinematography of ideas.

Terre II opens with "Prélude," its otherworldly flute and a pulsing bass setting the stage for the title track, a homage to the physical and esoteric territory covered in Julien's previous release. Julien focuses on slightly detached patterns over consistent melody. "Iris I"—the first of six randomly dispersed interludes—leans more toward the European chamber mindset (with some subdued electronic enhancements), as do the ..."II" through ..."VI" variations. "Ailleurs" envisions a better, if not utopian place, where the engaging dialog of the baritone sax and flute direct the narrative.

More personal contributions to the collection are seen in "Une Attente" and "Doudou" dealing with different aspects of the human dilemma. "Non Sens—Nonsence" takes on the very current geopolitical plight of emigres and those faced with the prospect of waves of refugees entering into their society. The album closes with "Mr. John Barry," a tribute to Julien's previously mentioned soundtrack composer favorite; an appropriate conclusion to a collection that in and of itself has elements of a cinematic score.

Though a saxophonist by trade, Julien is credited on Terre II with programming and percussion while Michaël Havard takes on many saxophones and Rémi Dumoulin mans the bass clarinet. Siegfried Canto's flute and cellist Adeline Lecce add much to the chamber aspects of the album. Terre II is a pleasing outing played in a refined atmosphere and with occasional dissonance. It suffers only minimally from a sense of not quite breaking out when given the opportunity. Still, it is different and that makes it worth considering.

Track Listing: Prélude; Terre II; Iris I; Ailleurs; Iris II; Iris III; Une attente; Iris IV; Doudou; Iris V; Non-Sens; Iris VI; Mr. John Barry.

Personnel: Hélène Argo: voice; Guillaume Billaux: guitar; Siegfried Canto: flute; Médéric Collignon: cornet/voice; Rémi Dumoulin: bass clarinet; Michaël Havard: soprano, tenor, baritone saxophone; Julian Julien: percussion, programming; Adeline Lecce: cello.

Record Label: Self Produced

Hola, amigos de Autopoietican, les saluda César inca
« Hoy estamos con el nuevo disco del francés JULIAN JULIEN “Terre II” en nuestras manos. JULIEN se hace cargo exclusivo de las composiciones que integran el repertorio del álbum, además de hacer las programaciones de ritmos y atmósferas de teclado, y tocar percusiones: deja de lado su pericia al saxo y asume fehacientemente la labor de “director de orquesta”.» Autopoietican - Apuntes de Musica Progresiva Contemporanea

Durando poco menos de 3 minutos, ‘Prélude’ abre el repertorio con un aura de majestuosa solemnidad donde la guía de la flauta y la exótica prestancia de la estructura rítmica conforman el encuadre para el bloque sonoro. Una oportuna orientación musical para que emerja ‘Terre II’ y desarrolle una vitalidad melódica etérea, tremendamente rica en matices y convincentemente llamativa: esta vez son el clarinete y el saxo quienes se apoderan del rol protagónico. ‘Iris I’ es el primero de los seis temas que portan el concepto de ‘Iris’ dentro del repertorio del álbum: esta primera entrega se basa en atmósferas sintetizadas que tienen algo de misterioso y también algo de siniestro, aunque este último factor queda inmerso en una extraña incertidumbre. ‘Ailleurs’ surge para instaurar un notable contraste frente a la pieza precedente y ponerse a colorear todos los sitios y contornos del paisaje mental que el oyente proyecta dentro de sí: la cálida gracilidad con la que vientos, percusiones y teclados se engarzan para crear esta cautivadora musicalidad con una inconmensurable inteligencia musical hace que esta pieza se alce como un cénit fundamental del álbum. Luego sigue la dupla de ‘Iris II’ e ‘Iris III’, entregas que, al ser más extensas que la primera, gozan de la oportunidad de mostrar otras facetas del álbum con mayor meticulosidad: ‘Iris II’ toma la esencia misteriosa de ‘Iris I’ y la transforma en una demostración de pulsaciones cósmicas que orbitan dentro de un sistema solar hecho música; por su parte, ‘Iris III’ se mete de lleno en ejercicios de introspección electrónica, ahondando en lo cósmico de ‘Iris II’ y dándole un aire más luminoso merced a la presencia del saxo (filtrado abundantemente con efectos de computadora). La verdad que estas dos exploraciones sónicas juntas sirven como inspiración para el talante reflexivo, y es por eso que al darse el turno de ‘Une Attente’, el oyente está totalmente dispuesto a dejarse llevar por el lirismo imponente que se desborda por todos los poros del celestial esquema temático en curso. El canto de Hélène Argo se hace destacar en la apertura y el cierre de esta pieza, enfatizando en sus contadas intervenciones la aureola poética de la pieza.

‘Iris IV’ nos brinda un ejercicio de tensión bajo un ropaje etéreamente minimalista, con una corneta que exorciza los peores temores del ego: posiblemente se pueda advertir aquí ciertas huellas del paradigma del ART ZOYD post-1982. ‘Doudou’ explora la faceta cándida de la World Music mientras la reviste del misterio nebuloso que había marcado los pasajes más oscuros del repertorio precedente; este enfoque sónico es pertinente para preparar el ingreso de ‘Iris V’, cuyas abstracciones futuristas se sitúan a medio camino entre la tradición del krautrock sintetizado (TANGERINE DREAM, CLUSTER) y el jazz electrónico. Durando casi 8 minutos, ‘Non-sens’ se erige como la pieza más extensa del álbum. Sucediendo a una larga introducción minimalista de corte cósmico, el núcleo temático de la pieza consiste en un llamativo jam marcado por una cadencia elegante que nos remonta al paradigma histórico de WEATHER REPORT pero con aires modernistas a lo TORTOISE: volviendo a asumir un rol protagónico, la corneta se centra esta vez en elaborar líneas evocativas, no exentas de refulgente nostalgia. ‘Iris VI’ prosigue con el factor krautrock, esta vez con un férreo espíritu espacial, durante un minuto y segundos, antes de abrir la puerta a la última pieza del álbum, ‘Mr. John Barry’: su espíritu es marchoso, muy acorde con el estándar del nu-jazz además de ostentar esa amabilidad melódica que encontramos en el TANGERINE DREAM de inicios de los 80s.

JULIAN JULIEN y sus compañeros/as de viaje nos han regalado un muy placentero trayecto musical que, por tres cuartos de hora, reflejan un amplio espectro de imágenes y sensaciones del mundo que nos rodea. “Terre II” es una agradable sorpresa dentro del actual estado de la situación en el jazz-progresivo mundial, y no solo eso, sino también una obra de exquisita factura. Aún si en esta ocasión específica él ha decidido mantener un perfil un tanto bajo dentro del ensamble, JULIEN debe seguir siendo apreciado como un talento máximo de la vanguardia europea actual.

César Inca Mendoza Loyola, Autopoietican - Apuntes de Musica Progresiva Contemporanea

Babyblaue-seiten.de
Von Achim Breiling

Nach einer etwas längeren Pause meldet sich Julian Julien mit seiner vierten Klangproduktion zu Wort. "Terre II" bezieht sich schon im Titel auf das im Jahre 2000 erschienene "Terre", und in der Tat gibt es gewisse klangliche Ähnlichkeiten. "Terre II" setzt den mit dem Erstling beschrittenen Weg in akustisch-kammerrockig-weltmusikalisch Gefilden fort, weist aber gleichzeitig eine sehr deutliche Elektronikkomponente auf. "Terre II" ist, so der Künstler, zudem von diversen fotographische und literarische Kunstwerken inspiriert (ohne dass das im Beiheft der CD weiter ausgeführt oder spezifiziert wird). Elektro-akustische Klangbilder sind hier also zu hören, musikalische Erzählungen und impressionistische Tongemälde.

Jazz und Rock bilden die Grundlage der Musik, oft kammerprogressiv verwoben, oder sich in ausladenden Postrockgefilden bewegend. Dazu kommt viel Elektronisches. Im Vergleich zu "Strange" gehören dazu aber keine Beats und Rhythmen aus der Dose. Eher ruhig und schwebend, mysteriös, rund und melodisch wird in elektronischem Sound gemalt. Die sechs Nummern von "Iris" bieten meist reine elektronische Klänge, ambientartiges, düstere Gewebe, kosmisch-spacige Gespinste, lärmendes Dröhnen (in "Iris II" z.B.) oder sperrige und freiformatige Tonexkurse, die nur selten dezent rhythmisch vorangetrieben werden. Ab und zu eingeworfen werden, mitunter stark effektverfremdete Bläserklänge (Trompete und Sax), die zudem eine leichte Ethnoatmosphäre erzeugen, die ein wenig an die ECM-Produktionen von Niels Petter Molvaer erinnern.

Das lange "Non-sens" geht in eine ähnliche Richtung, während die anderen Nummern etwas jazzrockiger aus den Boxen kommen (das Titelstück z.B.), oder recht eigene Gemenge an Akustiklang mit Elektronischem bieten und sich irgendwo im Grenzgebiet von Jazz, Jazzrock, Postrock und Kammerrock aufhalten. So richtig rocken tut es allerdings kaum (am ehesten im abschließenden, offenbar dem Filmkomponisten gewidmeten "Mr John Barry", welches eine Art von Brass-Jazz-Ethnoprog bietet). Eher gleiten die Klänge dicht verwoben, voluminös, sehr farbig und klangvoll dahin.

"Terre II" ist eine ziemlich runde und gelungene Angelegenheit. Wer abwechslungsreiche Vermengungen aus Jazz, Jazzrock, Postrock, Kammermusik und Elektronischem schätzt, der sollte dieses, die eben genannten Ingredienzien auf sehr eigene Art und Weise verbindende Album einmal antesten!

Jazz Music Archives
By John Sanders, specialists collaborators reviews

With so much self-produced and self-released music coming out these days, there has to be some serious flotsam and jetsam piling up out there, which is a shame because not all self-released projects are thrown together indulgences. A great example of someone who releases self-produced albums that contain painstaking craftsmanship and a high level of composition is Julian Julien and his latest opus, “Terre II”. Like Julian’s previous albums, “Terre II’ features an interesting mix of mini-soundtracks, instrumental exotica, chamber art-pop, nu jazz and that peculiar form of French art-rock known as zeuhl. The main difference with “Terre II”, when compared to his earlier albums, is there is more use of ambience this time around, with many tracks being more about floating textures rather than more specific melodies. Whether this is good or bad is just a matter of taste, but despite a slightly different musical direction, “Terre II” still features all the careful craftsmanship revealed on Julian’s previous albums. Also, Julian’s use of ambience does not get overly fluffy, as many an ambient moment is topped with expressive, sometimes atonal horn solos.

So many references come to mind when listening to Julian’s music, particularly those artists who know how to create a very personal atmosphere, for instance late 70s Brian Eno and Bo Hanson, Chico Hamilton’s 50s exotic chamber jazz, Brian Wilson and Les Baxter as well. Every song on here is like a miniature world to itself, but all the songs flow together to make an almost soundtrack effect. Some of the better cuts include title track “Terre II” with its jazzy sax solo, “Alleurs”, which features a lazy semi-classical melody orchestrated with flute and bass clarinet floating over an obstinate Celeste, and “Iris V”, which features buzzing synth drones and melodies over a driving hand percussion beat.