On January 30th 1968 the French harbour of Paimpol saw the landing of Fred Morvan, son of a sailor, a suckling child for the time being and a multi-faceted artist in the bud. Without the knowledge of the parents, the garage in the family house of Saint-Clet, a few km from the sea, became the setting of his first artistic experiments.
In 1980, as he just moved to Caen at the age of 13, he was noticed by the lady-director of the local dancing school in a show whose choreography he created. Those were the days when he discovered the album Diamond Dogs by David Bowie, the first records by Iggy Pop and the Stooges, Sandinista by the Clash and a few months later, the London dance-floors during his language courses.
At the age of 17, after a short stay in Paris, he moved to Germany to join the theatrical company Tanz-Theater Münster in which he was involved in new forms of expression: in the Hangman’s Balad, the Martyrdom of Saint Sebastian, the Drunken Boat… He would dance and recite poems by Villon, D’Annunzio and Rimbaud in a show where the texts and Choreography interacted in a peculiar scenic combination. Back in Paris, he attended drama lessons at Vera Greh’s, a follower of Tania Balachova. This meeting gave him an opportunity to play a part in Pierre Sullice’s short film, L’Autarcie.
Insatiable and curious in 1987, he spent a lot of time in the Parisian clubs and became a well-known DJ. His evenings Rhythm’n’Blues in My House proved popular among clubbers and he would carry on these nightlife sessions by taking part in the hatching of new Techno music currents such as New Beat and Acid House and of curious mixes during the Kit Kat nights at the Palace, La Luna, Le Saint at the Divan du Monde and the Elysée Montmartre.
His musical influences, as his career will turn out to be, are eclectic and Fred makes further discoveries with more experimental artists like Talking Heads, Laurie Anderson, Brian Eno, Robert Ashley.Talking Heads, Laurie Anderson Brian Eno, and Robert Ashley. Next will come Bristol’s trip-hop scene, the Oriental lyricism of Om Kalsum the traditional ethnic or Indo-Pakistanese sacred music by Nusrat Fateh Ali Kan and the Dagar Brothers, as well as the songs of the Inuits, the Maronites and the Soufi even including the dreamy style of Björk.
From Djing to composition, the first step was taken, and in 1991 Fred acquired his first electronic instruments and began his experiments in the field of sound while following a theatrical career acting in Preparadise Sorry Now by Fassbinder, directed by Marie Tikova ( The European -1992 ) The Moods of Marianne directed by Tahar Aoudia (L’Espace Marais-1993). At that time he met Antoine Giacomoni, a photographer who spoke to him about his project to write a recital for the actress Marie Tikova. From these nightly talks would emerge several poetic texts. Thus they managed to put on the Théâtr’Art, a play that combined music poetry, acting, photographic projections, singing and dancing. As the co-author of the show, he took care of a part of the production and wrote the entire soundtrack. Performed in 1994 at the Pigall’s in Paris, the Théâtr’Art was the subject of a piece broadcast on the French channel FR3 and acclaimed by Le Cercle d’ Arte. The following year had its crop of new experiences: He was solicited by the business community and Fred who doesn’t go in half measures devoted nine years to train and assist other audiences in professional computer systems.
In 2003 for the 15th anniversary of the FID (International Record Festival) his title Hippocampe Song was released in a compilation gathering photos and pieces by Nico, Robert King and the Scars, Eric-D-Clark.
In 2004, Fred returned to the stage in a play by Boris Vian directed by Jean-François Martyn the Hitch-hiker at the Henry Miller Theatre in Clichy and the Fondation Boris Vian in Paris.
That foray into theatre created the need to create an all-embracing show. Fred made up his mind, then to combine music, lyrics and images in the heart of LLanada ViLLa, the new concept that he developed about Sarah Winchester’s phantasmagorical manor-house.
In his Parisian home- studio of the 18th arrondissement, he spent hours behind his electronic barrel-organs seeking forging and grinding his melodies inventing and building new musical universes.
From 2006 to 2008 he collaborated as actor and composer in the workshops organised by the theatrical company Les Feux de la Rampe, directed by Marie Tikova, who has followed him in the exploration of the many rooms of LLanada ViLLa.
In 2008 he composed the music for his new first production Dog, woman, man, by Sybille Berg and acted in the film directed by Jean-Christophe Rozner, Celui qui à un amour dans le ventre, shot in in homage to R.W. Fassbinder
A few months later, he was invited in Berlin to record an album with the Bilders , the band of the musician and writer from New Zealand, Bill Direen (Powertool Records, 2010)
At the end of the year, dragged down into the Berlin artistic turmoil, Fred left Paris put an end to the LLanada ViLLa saga during a last concert at Ben Kaufmann’s gallery.
Then, while he was learning German, he would occasionally go back to Paris to perform some Berlin–style DJ sessions. At that time in Kreuzberg, he used to play at the Möbel Olfe and the Barbie Deinhoff.
Mad about sound design, he created his own recording studio in early 2013 in the district of Neukölln after a year of training at the Datenklang School. Most of the year was also spent in the development of his next album Bordel Chic, as well as Cabaret Voodoo, projects that will be implemented in 2015