Frédéric L’Epée — Contre Courant (Cuneiform Rune 3408, 2026)
Frédéric L’Epée presents a different view of the electric guitar on Contre Courant. The guitarist leans towards clarity, nuance, and tonal range. Aside from a few effects, the instrument remains largely unadorned.
As with his previous release, 12 Pieces For Solo Electric Guitar, L’Epée aims to establish a true solo repertoire for electric guitar, closer in spirit to recital music associated with western classical instruments. Here, the guitar carries the full program on its own.
By contrast, his work with Yang, the band he leads with two guitars, bass, and drums, moves in a more outward direction. On Contre Courant, however, L’Epée turns inward. He describes the project as the “Yin” side of his musical identity, deeply focused on restraint, depth, and private emotion.
That perspective reflects a broad musical background. L’Epée grew up with western classical music through his violinist father. Later, he encountered rock in the 1960s, followed by progressive rock, contemporary, and experimental music in the 1970s. At the same time, he developed a strong connection to early 20th-century French classical music, especially the work of Claude Debussy, Erik Satie, Maurice Ravel, and Gabriel Fauré.
Accordingly, several pieces on Contre Courant, such as “Sarabande,” “Les Sonneurs,” and “Trois Miniatures,” nod to those composers. The superb pieces are suggestive, with passages that recall impressionist color and chamber-like intimacy.