Emmanuel Trep Kormann
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Emmanuel Kormann is an artist full of contradictions. He is a writer who does not particularly enjoy writing. He is a reggae singer who does not make reggae music at all. He spends a lot of time listening to Japanese film scores. As a composer, he admires Stravinsky. But he is desperately attracted to the full frequency sound system scene. As a producer of electronic music he is keen to return to acoustic sounds. And Emmanuel Kormann is a rocker in spite of himself.
From an early age, the Parisian Emmanuel Kormann was passionate about music. He was a kid when he started composing after seeing James Brown and Wagner on TV.
As he got a little older he would play clarinet concertinos and freestyle over the beats of the then up-and-coming rap producers of the times, he started to get the feeling that there could be many bridges between all styles of music… From the experience, it became virtually impossible for him to keep within the limits of a predefined musical style.
During the second half of the nineties, he formed a band. The music was an eclectic mix of his various musical influences, resulting in an indefinable fusion clearly geared towards hip-hop. At the time Jeru the Damaja, Steve Coleman and Portishead were pinnacles in his world.
In the early 2000s, he turned towards ‘electro’. He felt he was not so far from the ‘Broken beat’ movement and later from experimental strands of electronic music. At the time, he would spend most nights recording music on his home studio catching up on lost sleep during the lectures at university. On his turntables you could hear the sounds of John Coltrane, Def Jux productions, or some Ligeti pieces. At the start of 2012, with the support of Barry Adamson (Nick Cave & The Bad Seeds, Magazine), he released Obscur Etrange. – a summarisation and analysis of all he has felt and experienced before.