Quint-2872r-web-700-980

«Rainwalker», Quint’s first EP, marks the beginning of a new songline, a shifting point, a long premeditated mutation. It is the new musical skin of a protean artist, an insatiable adventurer, another layer added to that of composer, singer, actor, scenographer, puppet master, director, dancer…yet always the musician. At the Conservatoire, he studies music then singing. He is the pupil of Niels Arestrup for theatre and Karin Waehner, Barbara Pearce, George Appaix for dance.

As a child, Quint sleeps little. Tossed about by his musician parents from free jazz clubs to minimalist music concerts, or dragged to listen to Rive Gauche singers, most often he falls asleep in a smoky corner of the room, rocked by the brutal sounds of improvising artists breaking all taboos. The melodies of Peter Gabriel or Michael Jackson playing non stop on his Walkman blend with the free sounds of his environment. His eclectic taste is born. Steve Reich in one ear, Al Jarreau in the other…

Later he spends hours beating on the rubber skins of mute drums… he has to imagine the sounds but the rhythm seeps in. He showers his friends with English sounding onomatopoeia and obsessive rhythm beating.
At night he composes music on machines…

Getting up in the morning is tough, he’s due on a film set…
As an actor he works with numerous directors, Tavernier, Rappeneau, Féret, Doillon… He goes from being a baker’s boy in Cyrano to being comrade in arms to Joan of Arc for Besson and for Rivette. He interprets the serial killer Patrick Henry, then the even more bloodthirsty Fouché for J. D. Verhaeghe. All this time spent on film shoots forges his love for the cinema. On stage, he performs Duras, Jacques Rebotier or lends his voice to songs by Piaf, another parallel life…
At night he composes music on machines…

With his parents, he directs the Au Cul du Loup Company, performing world wide a musical and choreographic theatre built around original sound objects. Australia, U.S.A., Mexico, Russia, England, Scotland, Germany, Finland, Spain, Italy… They’re on tour constantly.

At night he composes music on machines… His style is shaped by the other art forms he brushes against. Quint’s music is cinematographic, melodic, sometimes orchestral, sometimes more bare, or allowing itself to be influenced by pop hues, electro textures. He lends to this his captivating voice.
His music is an immersion, you plunge into it. You imagine yourself in a misty morning landscape, under the Brooklyn High Line, in the middle of the sea or again in the infinite grey shifts of an abstract painting.