“Ultra-global bitterness”: Timothée Joly’s anti-irony remedy

On the immediate “Ultramondiale bitterness”, the Géo Trouvetou of French pop continues to establish its status as an alchemist of musical genres and an aggregator of completely crazy formal ideas. Human 1 – Algorithms 0.

human after all. If the music of Timothée Joly does not fundamentally have much to do aesthetically with that of Daft Punk – although the rocky side step of his new EP is not unlike the commercial suicide of the robot duo on Human After All –, the Parisian shares with the helmeted pair the same desire to humanize the most robotic music there is (the ghost in the shell of Masumube Shirow or the one in the machine of The Police).

But also the same appetite for the concatenation of influences, a music-world which would try to contain all the others – to vampirize them, to pay homage to them, to make them collide, to twist them; either or all at once.


Behind this sonic alchemist’s program, there remains no ounce of irony drowned in an absolute relativism specific to the time (opportunistic interpolations of hits in pop mainstream) on ultra-global bitterness. With Timothée Joly, if everything seems bathed in intertextuality, in a large set of communicating vessels, music is made and heard at first level.

As such, the young Parisian understood the interest of the genre – a catch-all in essence – of hyperpop better than many of his contemporaries: more than a reversal of the supposed hedonism of early 19th century pop. century for ironic purposes, more than a set of sound markers (glitchesvoice of chipmunksoversaturation…), hyperpop is also a tangram, a destroyer of preconceived forms that we rearrange and crush at will to bring out the emotion.

Alchemical reaction

After completing his transformation into a pop – even variety – artist on his previous EP, quoting text Florent Pagny (Ice Cube), Timothée Joly therefore brews on ultra-global bitterness influences as disjointed as Yves Tumor, pop-punk, Animal Collective, Kyo, shoegaze and dream pop, Christophe Willem – a non-exhaustive and shamelessly subjective list for the reasons mentioned above. It is not a question here of pouring into revisionism as to the quality of the most shameful references of this selection, but rather of extracting the juice, the idea that not everything has to be sacrificed on the altar of “ good taste”.

With EPs with titles as absurd as International: 1 + 138 Where Plastic (Europe) and Ultra-global bitterness,, Timothée Joly has therefore built his own cosmogony, intimate and personal, on this referential jumble, a hyperpop in the literal sense: augmented and liquid. Like that of Yelle, another fervent representative of a first degree pop, the music of the Parisian does not work backwards, but with an immediacy as clear as his texts. A pop that does not suffer from any malignity, where the gnashing of teeth from forced, crooked, mocking or cutesy smiles have given way to a easy smile. A pure and perfect alchemical reaction.

ultra-global bitterness EP (Because Music). Released since December 9.


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