The poetry of Emily Dickenson has inspires a new album from French British composer Jean-Loup Pinson.
A Moment of Deathlessness combines readings of Dickinson’s writing with choral music and contemporary beats.
Pinson says: “Emily Dickinson’s poetry speaks to universal themes of existence, and I wanted to explore those ideas from contrasting angles. The collaboration between a classical choir and contemporary hip-hop artists seemed like a compelling way to examine the enduring relevance of her work.”
How did your musical project first start? Is there a story to tell about it?
For a while now, I’d been wanting to try something outside the realm of film scoring, which takes up most of my time these days. I knew I wanted to work with a classical choir and experiment with mixing that with electronica beats and rap/spoken word. Emily Dickinson ended up being the spark that made it all click. I was looking through poets I love and admire, and she just suddenly felt like the obvious choice. Her poems are almost 200 years old, but they have such a modern vibe—especially in their rhythm and diction—which makes them really interesting (and quite challenging!) to set to music. I began experimenting with ideas and textures on paper while reaching out to friends who could bring the vocal performances I had in mind. Everyone got super excited about the project, whether it was the choir, The Carice Singers, or the hip-hop artists and poets Armanious and Tanaka Fuego.
How have your music/live performances been received by fans?
Far beyond what I had anticipated! I was confident in the quality of the music, but I knew it belonged to an unusual genre, stepping well outside the mainstream. The feedback I’ve received so far has been overwhelmingly positive. Who would have thought so many people would be into experimental choir music?
What three words best describe your musical style and why?
I always find it challenging to describe my musical style because I work across many genres, particularly in film scoring. If I had to choose three words, I’d say narrative (as opposed to ambient—my music often intends to tell a story and has a self-contained arc within its form), dynamic (as opposed to static—I enjoy experimenting with harmonies that feature movement and unexpected chord progressions), and hybrid (as opposed to mono-genre—I love blending elements from different musical styles).
Who are your biggest musical influences?
Oh dear, quite a diverse mix! Here are some artists who, at various points over the years, have left their mark on me: Ennio Morricone, Claude Debussy, Pink Floyd, Little Simz, Arvo Pärt, Django Reinhardt, John Adams, Herbert Hermann, Buena Vista Social Club, and Air, just to name a few.
Tell us about your new release.
The concept of this EP is to pay tribute to Emily Dickinson through a fusion of choral music, contemporary beats, and spoken word. We recorded The Carice Singers in a London studio—they were incredible, nailing some pretty complex and dissonant voicings in just a few takes. Building on what we captured in that session, I refined the beats I had drafted and later recorded Armanious and Tanaka Fuego for their spoken-word performances. The whole process unfolded so organically; it was honestly such a blast.
What inspires your lyrics?
For the lyrics, we first had to pick which themes from Dickinson’s work we wanted to dive into. She was a prolific writer, so there were plenty of options! Ultimately, we chose a selection of poems—some well-known, others less so—that touch on topics such as mortality, desire, and the nature of truth. On each track, the choir performs the original poem set to music, while Armanious and Tanaka contribute ad-hoc lyrics that explore the same ideas through a contemporary lens. The purpose was to create perspectives from two centuries apart, reflecting the duality already present in the music itself.
How do you hope listeners will feel after hearing your music?
I hope people feel like they’ve just experienced something fresh and distinctive. I deeply admire artists who create truly original soundscapes, and it would mean so much to feel like I’ve joined their ranks. Beyond that, if this EP inspires some listeners to (re)discover the richness of Emily Dickinson’s poetry, that would be a huge win for me. Her work remains incredibly relevant, and I’m thrilled to share its depth with a new audience.
Do you have any upcoming tour dates?
This EP has been created as a proof of concept and the first step toward a larger project that includes the release of a full album and a custom live performance. I’m currently in talks with stage directors to explore the direction the show could take. There’s still a lot of work to be done, but things will definitely take shape in 2025. As you might expect, the show will be a blend of different art forms.
What are you/your band working on next?
I already have several scores lined up for the beginning of the year, including a feature-length horror film and orchestration work for a video game. Of course, I’ll also be moving forward with the Emily Dickinson project, as there seems to be growing momentum.
Listen here:
