‘ Club”s glucose- and taurine-fuelled energy has fully departed, in its place standing a cognisant and internationally-informed sound, certainly developed from his travels through Japan and his lessons in the Jegog instrument in Bali by a local master, but also derived from a stern attention to musical discipline and technique on more familiar electronic counterparts. The result is an album so far removed from his prior work that it could easily be misconstrued as something made by an entirely different individual. Instead, de Laubier turns his sights to more exploratory realms, fed from his passion for legendary anime soundtracks - such as the inimitable ‘ Ghost in The Shell‘ soundtrack by Kenji Kawai - but also towards the personal experience of travelling, and creating and recording music with others along the way. It is closer to the world of scores and of composition where his latest album, ‘SPECTRE: Machines of Loving Grace’, sits, far more than the world of 2014’s ‘ Club‘, a hedonistic affair. In the world of OST’s de Laubier found sturdy footing, working with lauded filmmaker Céline Sciamma on her much-celebrated films such as ‘ Tomboy‘ (2011), ‘ Girlhood‘ (2014) and ‘ Portrait of a Lady on Fire‘ (2019).
After crashing the scene with his ‘ Epiphanie‘ album in 2006, de Laubier turned in several more solo studio projects all whilst changing tack, steering his ship towards the creation of film scores and sound tracks. French musician and score composer Para One (real name Jean-Baptiste de Laubier) has trod a somewhat unusual path throughout his musical career.
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