Pierre Daven-Keller - Kino Music (Kwaidan Records, 2019)

Following his three reactions – Reaction A, Reaction B, Reaction C -, three albums in which Pierre Daven-Keller explored the trails of a certain pop scene or the mysteries of a string quartet on the model of what has been called New Music, here comes Kino Music, a new instrumental project which, as its title indicates, deliberately embraces the colors of cinema and more specifically its Italian skies.

Pierre Daven-Keller

Pierre Daven-Keller makes no mystery of it: the model or more precisely the horizon of this album is Ennio Morricone in its pop and hedonistic inclinations, with a touch of Bossa Nova and, by extension, a certain variety of studio sound to which another great composer of that period could be related, Burt Bacharach.

Pierre Daven-Keller - Kino Music

However, this album is not about copying Morricone’s music is but giving it extensions or recomposing a state of mind which merges a certain idea of lightness with a touch of melancholy. Specify one must that much as the Air duet or the solitary Forever Pavot, it is through the cinema of the 1960s and 70s that Pierre Daven-Keller was initiated to music, as if Morricone along with the original soundtracks of François de Roubaix, Michel Magne, or Eric Damarsan had flown through his veins.

NMR (photo: press Pierre Daven-Keller)