Technique imparfaite classique, jazz, électro. Fétichisme passéiste (Charles Koechlin, British prog, 80s kitsch). Avant-garde accessible. Anti-modes.
« Il n'y a pas d'œuvres, il n'y a que des auteurs » [Jean Giraudoux]
Read an interview Louis had for StefanLiberski.com here:
Born and raised in Paris, France, bassist/composer Louis de Mieulle started his musical education at 7, playing the cello. After switching to the bass guitar, he eventually graduated from the National Conservatory of Paris (classical writing), the American School (jazz), and then the Berklee College of Music.
2002 to 2008:
Leader of the parisian band Soundchaser - starting as 70s electric jazz, ending in proto « jazz-djent ». Two albums on the [IKOZ] label and gigs all around France.
After moving to the US, he released his first solo album in 2011, Defense Mechanisms. Recorded in New York City with prodigies Matt Garstka (drums) and Casimir Liberski (piano), it blends the experimental and the accessible in an unusual way. "Is there such a thing as “math-jazz”? I’ve no idea, but it will have you tapping your toe and scratching your head at one and the same time. (...) An engaging and sometimes challenging, but always entertaining listen (...)" (Roger Trenwith - DPRP)
As a sideman, he expanded his style palette with people as diverse as Lulu Gainsbourg (pop), Casimir Liberski (jazz fusion), Sould’Out NYC (soul/funk), Uglybraine (hip-hop), Nate Hook (avant jazz), Kesiena (rock), Yacouba Diabate (afrobeat), Peyton Pleninger (post M Base), Delsonido (electropical)
And staying loyal to his classical roots, he won a composition contest with the comic opera “Tres Para Una” in 2006, co-written with Augustin d'Assignies and Edward Greaves.
Louis' second solo album, "Stars, Plants and Bugs", was released in 2015 on Dalang!Records. It features old partners Matt Gartska (now also drummer of Animals as Leaders), Casimir Liberski (keys), and new members Sarpay "SharpEye" Özçagatay (flutist) and Tareq Rantisi (percussion).
The music is purposedly different from the one on DEFENSE MECHANISMS (2011), which was mostly a bass and drums groove thing. More based on melodic counterpoint, harmonic colours, and sonic textures, the new album is more intimate as well. The systematic developments have been replaced by instinctive ideas.
It's also a concept album, in the 70s tradition. The surrealist storyline features vibrant constellations, ancient trees and neurotic insects. Apparently naïve but filled with (reasonably) profound metaphors about Life and Death, it can be seen as the soundtrack for an imaginary cartoon.
That old school feeling is accentuated by the diversity of styles. Neo-classical, electric jazz, chamber pop, electronica, indian classical, math groove: that eclectic blend evokes an era that was more free from compartmentalization.
"This album is a departure from predictable and frankly uninspiring prog normalcy" [Roger Trenwith - The Progressive Aspect]. More reviews HERE
2016 saw the release of Nate Hook's first full-length, "Progressive Overload" - featuring Billy Test, Travis Reuter and Paolo Cantarella. Also EarPrints' first album - featuring Renato Diz and Raphaël Pannier.
2017: Louis teamed up with old friend Matt Garstka to create DUAL, "a spidery, hypnotic beast" (Roger Trenwith, The Progressive Aspect). An adventurous yet entertaining mix of math-rock grooves and neoclassical polyphony.
All drum grooves and concepts were developed by Matt Garstka and recorded first.
All melodies and harmonies added by Louis afterwards. Drums edited accordingly.
From the 25 minutes of recorded drums, about an hour of music was created.
DUAL is the first part of that collaboration.
Music critics have been saying: "The underground modern jazz album you didn’t know you needed." "A truly impressionist and modern architecture." "If you have an ear for true progressive music, you need to hear this." Full Reviews HERE
2018: “Outside The Square”, second part of that collaboration. Retrofuturistic synth-prog experiment. Symphonic synth arrangements illustrate the inner conflicts of a cyborg with artistic tendencies.
“The two astoundingly creative musicians take progressive rock and jazz fusion into more synth-heavy territory” [Dave Tremblay - CTEBCM?]
-"SIDE$HOW" - a loose, fun, cosmic jazz-groove journey, recorded live in the studio. The return of Louis' jamming tendencies.
"A constantly-engaging blend of ambitious instrumental progressive rock with many trappings of jazz. Touches of electronic genres and krautrock crop up throughout." [The Elite Extremophile]
-Casimir Liberski's 3rd album, a jazzy-math-videogame-fusion Tour de Force featuring the inevitable Matt Garstka on the drums: "Cosmic Liberty" features Louis on bass and also one of his composition ("Stasis")
-"SID€SHOW 2" - a circus freak-jazz reverie interpolating emotional counterpoints, ambient synth-hop, and disjointed dissonant riffs.
"Icy tones. Especially of note here is de Mieulle’s bass tone. It’s a crunchy, biting tone, and this tonal aggression fits the darker mood of Sid€show 2." [The Elite Extremophile]
-MOONSÜÜN's debut album. This is actually a new chapter in the Soundchaser canon (a jazz-rock band I formed in Paris in 2002). The aesthetic is now: minimalism, meditation, acoustic improvisation.
-Louis moves back to the Old Continent - in the Land of Cheese.
-"Magnetic Feel" album released in June (LP, CD). First electronic album, almost entirely through-composed. Continuation of the ""neo-classical"" writing last heard on "Outside the Square" (2018). Extensive use of vintage drum machines and synths (no bass guitar played), courtesy of old comrade Casimir Liberski. Cyberprog?
"It avoids the soulless sterility of a lot of the music of the 80s and of subsequent ‘80s-worship acts" [The Elite Extremophile]
-Music for the webseries "LEA's DIY" (Léa Furnion Iskar)
-Music for the dance film "Sapphire" (Melanie Greene)