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Marc Moulin
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Marc Moulin (16 August 1942 – 26 September 2008) was a Belgian musician and journalist (print, radio, TV). In the early-mid seventies, he was the leader of the jazz-rock group Placebo (not to be confused with the English rock band with the same name). He went on to become a member of the avant-rock band Aksak Maboul in 1977 and also formed the pop group Telex in 1978.[1] Moulin was one of Belgium's jazz legends, making jazz-influenced records for over 30 years.[2]
Biography
[edit]Marc Moulin was born in Ixelles, Brussels, in 1942 and was the son of Léo Moulin, a sociologist and writer, and Jeanine Moulin, a Belgian poet and literary critic.[3][4] Moulin began his career in the 1960s playing the piano throughout Europe and in 1961 won the Bobby Jaspar trophy for Best Soloist at the Comblain-la-Tour festival. Moulin made his first recording, the Jazz Goes Swinging LP, with The Saint-Tropez Jazz Octet (also known as Johnny Dover Octet) in 1969. Two years later, he formed the band Placebo with his close friend, guitar player Philip Catherine. Placebo recorded three albums (Ball of Eyes, 1973 and Placebo) and one 45 rpm single from 1973 until the group split up in 1976.[5]
After Placebo disbanded, Moulin formed Telex, which represented Belgium in the Eurovision Song Contest 1980 placing 17th of 19, with Michel Moers (vocals) and Dan Lacksman (synthesizer) in 1978 and his style shifted to electro pop.[2] He also began working as producer for artists such as Lio, Michel Moers, Sparks, Philip Catherine, French crooner Alain Chamfort and left-field artists such as Anna Domino and Kid Montana. During the '80s, Moulin worked as a radio producer, appeared regularly on radio shows, and wrote for various Belgian publications, including Télémoustique.[4][5]
Moulin died of throat cancer on 26 September 2008. He was 66 years old.[6][7]
Discography
[edit]with Placebo
[edit]- 1971 Ball of Eyes
- 1973 1973
- 1974 Placebo
- 1999 Placebo Sessions 1971–1974 (compilation)
- 2006 Placebo Years 1971–1974 (compilation)
Solo
[edit]- 1975 Sam' Suffy
- 1986 Picnic
- 1992 Mæssage
- 2001 Top Secret
- 2004 Entertainment
- 2007 I Am You
- Posthumous collections
- 2009 Bestof
- 2009 Bestof Restof
- 2009 Boxof
- 2013 Songs & Moods
- Posthumous re-releases
- 2018 Placebo
- 2018 Placebo 1973
- 2018 Ball of Eyes
- 2018 Placebo Years Lost & Found
References
[edit]- ^ Bernard Dobbeleer. "Biography". marcmoulin.com. Archived from the original on 21 August 2018. Retrieved 15 May 2016.
- ^ a b Linda Seida. "Marc Moulin Biography by Linda Seida". All Music. Archived from the original on 14 November 2017. Retrieved 15 May 2016.
- ^ "Jeanine Moulin Biography". Académie Royale de Langue et de Littérature Françaises de Belgique. Archived from the original on 12 September 2016. Retrieved 15 May 2016.
- ^ a b "La Dernière Rèvèrence de Marc Moulin". Citizen Jazz. Archived from the original on 17 June 2016. Retrieved 15 May 2016.
- ^ a b "Marc Moulin Tribute". LDBK. 5 November 2013. Archived from the original on 4 June 2016. Retrieved 15 May 2016.
- ^ ""Jazz Musician Marc Moulin Dies Aged 66"". Archived from the original on 4 October 2008. Retrieved 14 October 2008.
{{cite web}}: CS1 maint: bot: original URL status unknown (link) - ^ "Focus: Marc Moulin". Visit Brussels. Archived from the original on 30 May 2016. Retrieved 15 May 2016.
External links
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Marc Moulin
View on Grokipediafrom Grokipedia
Early Life and Education
Family Background
Marc Moulin was born on August 16, 1942, in Ixelles, a municipality of Brussels, Belgium.[3] He was the only child of Léo Moulin, a prominent Belgian sociologist, writer, and professor at universities in Brussels, Louvain, and Namur, and Jeanine Moulin (née Rozenblat), a poet, essayist, and literary critic known for her works on poetry and exegesis of literary texts.[7][8][9] Raised in an intellectual household steeped in Belgian cultural heritage, Moulin grew up surrounded by discussions of sociology, literature, and the arts, with his parents' professions creating an environment that naturally encouraged creative pursuits from an early age.[10][8] This familial atmosphere provided him with early exposure to literature through his mother's poetic and critical endeavors, as well as broader humanistic ideas via his father's scholarly work, laying a foundation for his later interests in music and expression.[9]Musical Beginnings
Marc Moulin took piano lessons in his native Ixelles, Brussels, where he was born in 1942, laying the foundation for his musical development amid a family environment that fostered artistic interests.[11] Although he pursued studies in economics and political science at the University of Brussels, graduating in those fields, his passion for music drew him toward self-taught improvisation and jazz exploration in the early 1960s.[11][12] In 1961, Moulin formed his first piano trio, marking his entry into the professional jazz scene.[3] That same year, the trio performed at the Comblain-la-Tour Festival, where Moulin won the prestigious Bobby Jaspar Trophy for best soloist, recognizing his emerging talent in jazz piano.[2] This achievement highlighted his early proficiency in improvisation and established him within Belgium's burgeoning jazz community.[11] Throughout the 1960s, Moulin's trio toured across Europe, often serving as a backing ensemble for expatriate American jazz musicians, including tenor saxophonist Johnny Griffin, as well as Dexter Gordon, Don Byas, Slide Hampton, Benny Bailey, and Clark Terry.[3][13] These performances honed his skills in collaborative improvisation and introduced him to diverse jazz influences, while he began experimenting with original compositions during gigs and festival appearances.[3] By 1963, he had joined the Alex Scorier Quintet, further deepening his engagement with jazz structures and creative expression.[3]Professional Career
Jazz and Early Bands
Marc Moulin began his professional jazz career in the early 1960s by forming his own piano trio in 1961, which quickly gained recognition within the burgeoning European jazz scene. This ensemble not only honed his skills as a pianist but also served as a backing group for visiting American jazz expatriates, allowing Moulin to immerse himself in the improvisational styles prevalent in post-war Europe. The trio's performances at various festivals earned him prizes, including accolades for best soloist, marking his emergence as a promising talent among Belgian and continental musicians.[3][4][13] By 1963, Moulin expanded beyond the trio format, joining saxophonist Alex Scorier's Jazz Quintet, a broader ensemble that reflected the growing complexity of European jazz groups during the decade. This collaboration integrated him into a network of key European figures, including guitarist Philip Catherine, with whom he co-founded the band Casino Railway in the late 1960s. Casino Railway represented an evolution toward larger, more dynamic lineups, blending traditional jazz instrumentation with emerging rhythmic elements, and Moulin contributed keyboards to early sessions that foreshadowed genre crossovers. These partnerships solidified his role in the vibrant Belgian jazz community, where ensembles often drew from local talent pools to perform at clubs and festivals across the continent.[3][13][4] Moulin's work was profoundly shaped by interactions with American jazz expatriates who had relocated to Europe, bringing hard bop and modal jazz innovations to local scenes. His trio backed luminaries such as saxophonists Johnny Griffin and Don Byas, while in the mid-1960s, he toured with others including Dexter Gordon, Slide Hampton, Benny Bailey, and Clark Terry, absorbing their technical prowess and expressive approaches. These experiences influenced Moulin's phrasing and harmonic sensibilities, bridging transatlantic styles within European contexts and exposing him to the expatriate community's role in revitalizing postwar jazz circuits.[3][13][14] In the late 1960s, Moulin began experimenting with jazz-rock integrations through Casino Railway, incorporating electric elements and rock-inspired grooves alongside Catherine's guitar work, which laid groundwork for fusion aesthetics without fully departing from jazz roots. This period also saw minor recordings, such as his appearance on the 1968 album Jazz Goes Swinging with the Saint-Tropez Jazz Octet (also known as the Johnny Dover Octet), a collective effort featuring European players that captured the era's swinging yet adventurous spirit. Professional milestones included radio broadcasts and live appearances across Europe, which helped establish Moulin's reputation before his pivot to more hybrid forms. These endeavors highlighted his piano foundation while signaling a transition toward genre-blending innovation.[3][4][15]Placebo Era
In 1971, Marc Moulin formed the jazz-funk band Placebo with longtime collaborator and guitarist Philip Catherine, leveraging his earlier involvement in Belgian jazz circles to assemble a group focused on fusion experimentation.[16] Moulin served as the band's leader, pianist, and primary composer, shaping its core sound through intricate keyboard arrangements that merged jazz improvisation with emerging funk and rock elements.[17] The lineup featured a fluid ensemble of Belgian musicians, including saxophonist and flutist Alex Scorier, trumpeter Richard Rousselet, bassist Yvan de Souter, and drummers Bruno Castellucci and Garcia Morales, with additional contributions from guitarist Francis Weyer and percussionist J.P. Oenraedt on recordings.[16] This collective enabled dynamic live performances, such as their appearance at the 1971 Montreux Jazz Festival, where extended improvisations showcased the band's rhythmic drive and harmonic complexity.[18] Placebo remained active through 1976, producing three studio albums—Ball of Eyes (1971), 1973 (1973), and the self-titled Placebo (1974)—along with a single, "Polk" b/w "Balek" (1973), all released on EMI labels.[17] These works highlighted Moulin's compositional vision, evident in tracks like the funky groove of "Balek" and the expansive suite "Showbizz Suite," which exemplified the band's blend of soulful bass lines, electric guitar textures, and brass-infused ensembles.[17] Moulin's direction emphasized a jazz-funk style that prioritized ensemble interplay over rigid structures, influencing the Belgian scene's shift toward progressive fusion during the mid-1970s.[19] The band dissolved in 1976 after a final tour, allowing Moulin to explore new directions in electronic and pop music.[20]Telex and Production Work
In 1978, Marc Moulin co-founded the Belgian synth-pop band Telex alongside sound engineer Dan Lacksman and vocalist Michel Moers, marking a shift toward electronic experimentation after his jazz-funk work with Placebo.[21] The trio's debut album, Beautiful Evening, released that year on Virgin Records, featured minimalist electronic disco tracks like "Moskow Diskow," which became an underground hit and exemplified their ironic, deadpan approach to pop music.[22] Telex's sound combined synthesizers, vocoders, and sparse rhythms to critique commercial music tropes, positioning the band as pioneers in European electronic pop.[23] Telex gained international attention in 1980 when they represented Belgium at the Eurovision Song Contest with the satirical entry "Euro-Vision," a deliberately minimalist track that mocked the contest's excesses through repetitive synth hooks and detached vocals.[24] Performed last in The Hague, the song earned just 14 points, finishing 17th out of 19 entries, yet it underscored Telex's subversive ethos and boosted their cult following in electronic music circles.[25] The band's subsequent albums, such as Neurovision (1981), continued this blend of humor and innovation, influencing synth-pop acts across Europe.[26] Parallel to his Telex commitments, Moulin established himself as a versatile producer, collaborating with Lacksman on projects that infused electronic textures into pop and funk. He produced key tracks for Belgian singer Lio, including the 1980 single "Amoureux Solitaires" from her debut album, where he layered funky basslines and synths over her playful vocals to create a crossover hit that topped charts in France and Belgium.[27] Moulin also coordinated production on Sparks' 1983 album In Outer Space, working closely with the Mael brothers to integrate Telex-style electronics into their new wave sound, though the project drew from an earlier unreleased collaboration.[5] His approach emphasized blending organic funk grooves with synthetic elements, as seen in productions for artists like Alain Chamfort, prioritizing rhythmic precision and atmospheric depth over conventional arrangements.[28]Solo Recordings and Later Projects
Marc Moulin began his solo recording career with the album Sam' Suffy in 1975, a jazz-funk effort that showcased his keyboard prowess and production techniques honed during his time with Placebo.[29] This debut was followed by sporadic releases, including Picnic in 1986, which blended acoustic elements with his signature groove-oriented style, and Mæssage in 1992, exploring more introspective electronic textures.[29] Later in his career, Moulin signed with Blue Note Records, issuing Top Secret in 2001, Entertainment in 2004, and I Am You in 2007, albums that innovatively fused lounge, chill-out, and electro-jazz elements, redefining these genres through his sophisticated arrangements and guest collaborations with vocalists like Karen Alberici.[5][30] Alongside his musical pursuits, Moulin maintained parallel careers in journalism and media composition. He contributed political columns under the pseudonym "Humoeurs" to the Belgian magazine Télémoustique, offering sharp commentary on current events from the 1980s onward.[31] In 1987, he co-created the radio program La Semaine Infernale with Jacques Mercier on RTBF, where he hosted discussions on jazz and culture, drawing on his deep genre knowledge.[31] Moulin also composed incidental music and served as a sound designer for various radio and television productions, applying his production skills to enhance broadcasts and documentaries.[5] In his final years, Moulin's output slowed as he confronted serious health issues, ultimately succumbing to cancer on September 26, 2008, at age 66.[32] Despite these challenges, he completed I Am You shortly before his death, a reflective work that integrated his lifelong influences into a cohesive electro-jazz statement.[30]Musical Style and Influences
Jazz Foundations
Marc Moulin's immersion in jazz began in the early 1960s, when he formed his first piano trio in 1961, initially serving as a backing ensemble for expatriate American jazz musicians touring Europe.[13] This group quickly gained recognition, with Moulin winning the Bobby Jaspar Trophy for Best Soloist at the Comblain-la-Tour Jazz Festival that same year, highlighting his emerging prowess in piano improvisation and phrasing.[4] His early style drew heavily from the bebop and cool jazz traditions prevalent in the American scene, influenced by collaborations with tenor saxophonists like Johnny Griffin and Dexter Gordon, whose rapid, intricate lines shaped Moulin's approach to harmonic complexity and rhythmic swing.[3] By 1963, Moulin had joined the Alex Scorier Quintet, a key European jazz outfit that further honed his skills in ensemble interplay and modal exploration, blending continental sensibilities with transatlantic techniques.[13] These experiences established a foundational vocabulary of improvisation—rooted in bebop's angular harmonies and cool jazz's melodic restraint—that permeated Moulin's compositional methods, providing a structural backbone for spontaneous expression in both live settings and recordings throughout his career.[4] A pivotal early recording exemplifying Moulin's pure jazz style is his debut appearance on the 1968 album Jazz Goes Swinging by the St. Tropez Jazz Octet (also known as the Johnny Dover Octet), where he contributed piano on swinging standards and originals that showcased tight ensemble swing and idiomatic bebop phrasing.[15] This session captured the 1960s European jazz ethos, with Moulin's contributions reflecting a synthesis of American influences adapted to local contexts, underscoring his lifelong commitment to jazz principles as the core of his musical identity.[13]Fusion and Electronic Innovations
In the early 1970s, Marc Moulin pioneered the integration of jazz with funk and rock elements through his band Placebo, emphasizing electric piano and robust rhythm sections to create a dynamic fusion sound. Playing the Wurlitzer electric piano, Moulin crafted intricate, motile keyboard lines that intertwined with groovy bass and tight horn arrangements, expanding traditional jazz structures into rhythm-driven compositions with subtle electronic undertones, influenced by figures such as Miles Davis and Herbie Hancock.[3][33][19] Building on his jazz foundations, Moulin shifted toward electro-pop in 1978 with Telex, where he incorporated synthesizers and minimalist arrangements to produce light, experimental electronic music that blended disco, punk, and avant-garde influences. As the group's keyboardist and conceptual driver, he advocated for synth-pop's sparse minimalism, resulting in clean, bleep-heavy tracks that explored new sonic possibilities in European pop.[34][23][35] In his solo career during the 2000s, Moulin innovated within acid jazz and nu jazz genres through recordings on Blue Note Records, seamlessly blending lounge and chill-out aesthetics with electronic jazz elements to redefine downtempo and electro-jazz principles. These works featured elegant, soul-infused downtempo grooves that combined his electronic sensibilities with relaxed, atmospheric textures, marking a mature evolution of his hybrid style.[13][36] Moulin's production techniques significantly advanced electronic textures in Belgian music, trailblazing the use of synthesizers and sound engineering to fuse organic jazz phrasing with synthetic minimalism across his projects. His approach, honed through collaborations like Telex and solo endeavors, influenced the local scene by introducing cosmic synth layers and experimental electronic production that bridged jazz improvisation with pop accessibility.[23][37][36]Legacy and Recognition
Impact on Music Scenes
Marc Moulin played a pivotal role as a pioneer in the Belgian jazz-rock scene during the early 1970s, founding the band Placebo and blending jazz improvisation with rock and funk elements inspired by acts like Weather Report and Soft Machine.[5] His leadership in Placebo helped establish a distinctly European take on jazz fusion, characterized by hypnotic rhythms and early synthesizer use, which anticipated later developments in electronica and influenced subsequent Belgian fusion groups by showcasing innovative keyboard-driven compositions. Albums such as Placebo (1974) and the cult-favorite Sam' Suffy (1975) became benchmarks for the genre in Belgium, demonstrating Moulin's ability to fuse complex jazz structures with accessible grooves that resonated beyond local borders.[5] Through his work with Telex, formed in 1978, Moulin significantly shaped the electro-pop and synth scenes of the 1980s, introducing ironic, minimalist electronic sounds that mixed disco, punk, and experimental elements.[34] Tracks like "Moskow Diskow" from their debut Looking for Saint-Tropez (1979) achieved global dancefloor success and directly impacted the nascent techno movement, inspiring Detroit pioneers such as A Number of Names' "Sharevari" (1981) and later remixes by Carl Craig.[34] Telex's deadpan humor and synthesizer-heavy approach positioned them as key figures in European electronic music, earning recognition as synth-pop heroes whose futuristic kitsch influenced the broader 1980s club and pop landscapes.[38] Moulin's production contributions further elevated European pop, particularly through his collaboration with singer Lio on her self-titled debut album (1980), where he co-produced hits like "Le Banana Split" alongside Dan Lacksman.[39] These tracks topped French charts and sold over a million copies, propelling Lio to stardom as a quintessential electro-pop artist and blending yé-yé charm with synthetic beats to define a playful strand of continental pop.[40] Over more than three decades of recordings, Moulin earned enduring recognition as a Belgian jazz legend, with his versatile output bridging fusion, electronic, and lounge genres while guiding influences from Miles Davis himself.[5] His pioneering efforts in jazz-rock and electro-pop continue to underscore his impact on both Belgian and international music scenes, fostering a legacy of genre-blending innovation.Posthumous Tributes
Following Marc Moulin's death in 2008, several posthumous compilations were released to celebrate his extensive catalog, beginning with the 2009 Blue Note series that included Bestof, a 15-track selection of key recordings from his solo and collaborative works; Bestof Restof, an accompanying volume with additional rarities; and Boxof, a 45-track boxed set compiling highlights from his career spanning jazz fusion to electronic experiments.[41][42][43] In 2013, the double-disc Songs & Moods was issued, featuring 30 tracks that showcased his lounge, downtempo, and acid jazz influences, drawing from albums like Sam' Suffy and Entertainment.[44] The year 2018 marked significant re-releases of his early Placebo material, including remastered editions of Placebo (1974), Ball of Eyes (1971), and the archival collection Placebo Years Lost & Found, which unearthed previously unreleased sessions from 1971–1974, highlighting his foundational role in Belgian jazz-funk.[45][46] Collaborators honored Moulin through dedicated performances, notably at Flagey's 2013 homage concert on November 20 in Brussels, where Telex members Dan Lacksman and Michel Moers performed "Moskow Diskow" with an empty chair symbolizing Moulin's absence, joined by Sparks covering Telex's "Tell Me It's a Dream" as a direct nod to his production legacy.[47] Philip Catherine, Moulin's longtime bandmate from Placebo and other projects, contributed guitar interpretations of Moulin's compositions at the same event, emphasizing their shared jazz roots.[48] In 2018, Catherine reunited with his quintet and the band STUFF. for another Flagey tribute on October 13–14, performing Moulin's jazzfunk-electro repertoire to mark the 10th anniversary of his passing and underscore his innovative blending of genres.[49] Media and cultural reflections have positioned Moulin as a cornerstone of Belgian music history, with outlets like JazzInBelgium crediting him for bridging 1960s European jazz traditions with 1970s fusion and electronic sounds, influencing generations of local artists.[3] His official estate has noted that, a decade after his death, Moulin's oeuvre continues to inspire Belgian musicians worldwide, from jazz improvisers to electronic producers, through its enduring accessibility via reissues and streaming.[36] No formal awards or festivals bear his name posthumously, but these tributes and releases affirm his lasting impact on Belgium's progressive music scene.Discography
Albums with Placebo
Placebo, formed in 1971 by Belgian keyboardist and composer Marc Moulin, released three studio albums during its active years from 1971 to 1976, blending jazz, funk, and rock elements with Moulin's innovative use of synthesizers like the Moog.[33] The band's debut album, Ball of Eyes (1971), was issued on CBS Records and featured a large ensemble including saxophonists Alex Scorier and Johnny Dover, trumpeter Nic Fissette, trombonist Richard Rousselet, bassist Nick Kletchkovsky, and drummer Freddy Rottier, with Moulin on keyboards and arrangements.[50] Recorded in Brussels, the album showcased funky jazz-rock tracks such as "Inner City Blues" and "Humpty Dumpty," emphasizing groove-oriented compositions and brass sections.[51] The second album, simply titled 1973 (1973), also on CBS, intensified the funk influences with tracks like "Balek" and "Polk," where Moulin's Moog solos added electronic textures to the ensemble's sound; key personnel included returning members Dover (on bass clarinet), Rottier (drums), and Fissette (trumpet), alongside bassist Yvan De Souter.[52] Produced by Moulin, it was recorded at Start Studio in Belgium and highlighted the group's evolution toward more rhythmic, danceable fusion.[53] Placebo's final studio album, the self-titled Placebo (1974), appeared on Harvest (an EMI imprint) and incorporated broader rock elements, with drummer Bruno Castellucci joining the core lineup of Moulin, Dover, and others; notable tracks included "Showbiz Suite" and "S.U.S.," reflecting the band's experimental edge.[46] Recorded in London, it marked a shift toward more structured arrangements while retaining jazz improvisation. Post-breakup compilations have preserved and recontextualized Placebo's output. Placebo Sessions 1971-1974 (1999), released on Counterpoint Records, collected key tracks from the three albums, including live elements from a 1971 Montreux Jazz Festival performance.[54] Placebo Years 1971-1974 (2006), issued by Blue Note, offered remastered selections from the era, such as "Aria" and "Stomp," emphasizing the band's rare groove appeal.[55] More recently, Placebo Years Lost & Found (2018) on Music On Vinyl debuted previously unreleased 1973 outtakes recorded for the theater piece Phalène, featuring alternate takes with Moulin's ensemble.[56] The band issued limited singles during its run, notably the 7-inch "Polk / Balek" (1973) on CBS, drawn from the second album and highlighting the group's funky basslines and horn arrangements.[11] Additional unreleased material from the Phalène sessions, including improvisational pieces, surfaced in the 2018 compilation, providing insight into Placebo's creative process under Moulin's direction.[57]Albums with Telex
Marc Moulin co-founded the Belgian electronic band Telex in 1978 alongside Dan Lacksman and Michel Moers, serving as the group's keyboardist, producer, and primary composer throughout its active years.[21] Telex's output blended synth-pop, electro-disco, and ironic covers of popular songs, with Moulin's jazz background infusing their minimalist electronic arrangements.[34] The band's discography spans six studio albums from 1979 to 2006, during which Moulin contributed to production, keyboard programming, and songwriting on every release.[21] Telex's debut album, Looking for Saint-Tropez (1979), established their signature sound with tracks like the hit single "Twist à Saint-Tropez" and "Moskow Diskow," a disco-infused electronic track that achieved international success and showcased Moulin's skillful synthesizer work. Moulin handled keyboards and co-produced the album, emphasizing clean, innovative sound design over traditional instrumentation. The follow-up, Neurovision (1980), continued this approach with experimental synth tracks, including the band's Eurovision entry "Euro-Vision," a deliberately sparse and satirical song that represented Belgium at the 1980 Eurovision Song Contest in The Hague, where Telex finished 17th out of 19 entries with 14 points. The single's ironic minimalism—featuring vocoder vocals and basic beats—highlighted Telex's subversive take on pop conventions and boosted their cult following in electronic music circles, though it was initially met with mixed reactions.[24][26] Subsequent albums further demonstrated Moulin's production prowess and compositional versatility. Sex (1981), released in some markets as Birds and Bees with altered tracks, explored sensual electro-pop themes through Moulin's layered keyboard textures and co-written originals. After a brief hiatus, Wonderful World (1984) featured guest vocals from Sparks' Ron and Russell Mael on select tracks, with Moulin producing and programming the synth elements that gave the album its quirky, futuristic edge. The band's final pre-hiatus release, Looney Tunes (1988), incorporated more house and techno influences, where Moulin's keyboards drove playful covers like "The Way It Is." Telex reunited in the 2000s, releasing How Do You Dance? (2006), an album of remixes and new material that revisited their electro roots; Moulin contributed keyboards and production until his health declined. In 2023, Mute Records issued remastered vinyl editions of several Telex albums, including Looney Tunes and How Do You Dance?, preserving Moulin's foundational contributions. Post-1978, the band's catalog saw numerous reissues and compilations, including remastered editions of early albums on labels like Play It Again Sam and Mute, as well as retrospective collections such as I (Could) Have Been a Remix (2017), which compiled remixes featuring Moulin's original productions, and This Is Telex (2021), a career-spanning overview with restored tracks from their discography.[21] These releases preserved Telex's influence on electronic music, attributing much of their enduring sonic clarity to Moulin's foundational role.[34]| Album Title | Release Year | Key Tracks/Singles | Moulin's Roles |
|---|---|---|---|
| Looking for Saint-Tropez | 1979 | "Twist à Saint-Tropez," "Moskow Diskow" | Keyboards, Producer, Composer |
| Neurovision | 1980 | "Euro-Vision" | Keyboards, Producer, Composer |
| Sex | 1981 | "Flesh and Blood" | Keyboards, Producer, Composer |
| Wonderful World | 1984 | "Wonderful World" (with Sparks) | Keyboards, Producer, Composer |
| Looney Tunes | 1988 | "The Way It Is" | Keyboards, Producer, Composer |
| How Do You Dance? | 2006 | "Even A Fool" (remix) | Keyboards, Producer, Composer |