Muse
Origin Of Symmetry: XX Anniversary RemiXX

Savage pulsating drone-rock from FranceFrance is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.The pertinency of the recordings only slowly appear On “Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

Canyons are places of mystery and beauty. The interesting thing is, while they are one of the great wonders in the history of planet earth and attract scientists of all kinds of disciplines, they have also been a popular retreat for artists and musicians. You will have heard of Topanga Canyon, Rickie Lee Jones and Chicago recorded here. Laurel Canyon is even more well known, a mythical place where Crosby, Stills & Nash developed their unique vocal sound while hanging around Mama Cass' place. Or was it in Joni Mitchell's house on Lookout Mountain? Ok, you get the picture. There is something unexplainable, almost magical going on in canyons.Maybe that's why Andy Platts and Shawn Lee were thinking of "Canyons" when they wrote and recorded their third album as Young Gun Silver Fox. With "West End Coast" and "AM Waves" these two very talented musicians, singers, songwriters, arrangers and producers already explored all things Westcoast, AOR, Softrock and Boogie. But - especially if you are a into the golden age of this sound running from circa 1976 to 1984 - you will be aware that there is no return once you started digging these unconditional musical delights with their timeless compositions, untouchable musicianship and refined arrangements. The great albums from that era appeared when punk broke and the musical establishment was shaken to the ground. Today they sound more up to date than ever. Who would have thought back then?On "Canyons" Young Gun Silver Fox turned it up to eleven. They are nothing but "Kids" cruising in the fast lane, totally over the top searching for the "Dream Woman", touching down in Tokyo caught in a "Long Distance Love Affair", imagining the theme for a lost 70s TV series starring "Danny Jamaica", being on the winning side in a "Private Paradise", getting deep and soulful in "Things We Left Unsaid" and wondering how to spread "All This Love". Their bass lines, sound layers, brass arrangements and harmony vocals are immaculate. Everything fits perfectly. Just like this. "Who Needs Words" when everything is crystal clear? Exactly!

Limited to 24.150 copies. The Gold Experience was the first full-length Prince album to be credited to his unpronounceable symbol, and was released at the most public, heated stage of his battle with the major label industrial complex. With the word “slave” written on one cheek, Prince shined on the opulent ballads “The Most Beautiful Girl in the World” and “Gold” and the defiant single “Eye Hate U,” and the album earned widespread critical acclaim.The Record Store Day 2022 re-release of The Gold Experience is an homage to the rare US-only promo version of the album released in 1995. The two-LP set is pressed onto translucent gold vinyl with a bonus suite of “Eye Hate U” remixes on Side D.

Second volume of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Prince Buster, Derrick Harriott and more, and provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably prolific and unparalleled for an island of it's size.

Wewantsounds poursuit son programme de réédition des albums d’Akiko Yano avec la sortie de Iroha Ni Konpeitou (いろはにこんぺいとう), l’un des albums les plus funky de Yano, mettant en avant ses talents de chanteuse et de compositrice. C’est peut-être le disque le plus connu d’Akiko Yano en dehors du Japon, pas seulement à cause de sa pochette insolite – une photo prise par le célèbre photographe Bishin Jumonji mettant en scène Akiko tenant un dauphin gonflable, mais parce que l’album est l’un des plus funky d’Akiko. Mélange fluide de pop japonaise et de funk new-yorkaise, l’album a été enregistré à Tokyo, à l’exception du titre « Iroha Ni Konpeitou », enregistré à New York avec un groupe composé de la fine fleur des studios New Yorkais : Rick Marotta, David Spinozza, Will Lee et Nicky Marrero. Pour le reste de l’album, Akiko est accompagné des meilleurs musiciens de la scène de Tokyo gravitant autour des groupes Happy End et Tin Pan Alley : le légendaire Haruomi Hosono à la basse, Tatsuo Hayashi à la batterie, Shigeru Suzuki à la guitare, pour n’en citer que quelque uns. Il est intéressant de noter que deux compositions de Hosono figurent sur l’album, « Ai Ai Gasa » qu’il a enregistré sur son album emblématique Hosono House en 73, ainsi que « Hourou » à l’origine enregistré par le chanteur Chu Kosaka en 75. L’album comprend aussi un autre musicien clé, Hideki Matsutake qui programme les claviers dont joue Akiko : Moog IIIc, Mini Moog, String Ensemble, en plus du Fender Rhodes, Clavinet et Yamaha CP7C. Matsutake qui deviendra bientôt le programmeur en chef du groupe YMO. Bien que l’album soit très accessible et funky, des éléments électro plus complexes se cachent sous cette apparente accessibilité, comme sur la première brève introduction « KAWAJI », sorte de fantaisie électro futuriste ou comme sur « Ai Ai Gasa » ou « Kinou Wa Mou » sur lesquels Akiko joue elle-même la ligne de basse au Moog, des détails qui en font un album riche et captivant. Les titres de l’album mettent en valeur les superbes compositions d’Akiko Yano et son don pour ciseler des mélodies parfaites. Iroha Ni Konpeitou ravira tous les fans de musique japonaise, de funk et de pop sophistiquée, prouvant encore une fois qu’elle est l’une des artistes les plus importantes de la musique japonaises.