Originally released in 1991, the classic Erasure album Chorus was the band’s fifth album and their 3rd UK number one. Remastered with a second CD of B-Sides, Remixes (including 4 new remixes) and Rarities plus a third CD containing live "Chorus" performances from the Phantasmagorical Entertainment tour.
No longer making a big American splash outside of its fanbase and alternative radio - and about to be turned into yesterday's news thanks to the techno/hardcore explosion - Erasure on Chorus concentrated on just sounding like itself. With the notable exception of the hypersassy "Love to Hate You," Bell steers away from campiness in favor of a series of gentler meditations and impassioned pleas…
Buddha-Bar, the Lounge Music Founder since its opening, the Buddha-Bars musical identity has embodied an innovative and avant-garde aspect, thanks to the subtle mixture of captivating Electro-Ethnic rhythms and tribal sounds, played each evening by a resident DJ. In perfect harmony with the restaurant’s décor and atmosphere, this poignant and constantly innovative musical style enchants both the Parisian and international clientele. Deep motives and colorful overflows in a melodic sophisticated combination. Buddha-Bar XXII spatial atmospheric overflows are similar in creating a moderate and calm mood! Music has always played a major role in the Buddha-Bar universe. George V Records has been trying to recreate the magic of places in compilations that have become cult.
A new project by Chicago-based drummer/producer Makaya McCraven. An addendum to his critically-acclaimed 2018 release Universal Beings, which The New York Times said "affirms the drummer and beatsmith's position as a major figure in creative music," Universal Beings E&F Sides presents fourteen new pieces of organic beat music cut from the original sessions, prepared and produced by Makaya as a soundtrack to the Universal Beings documentary film.
Juliette Hurel and Hélène Couvert, who have long enjoyed a close rapport on the concert platform and on disc, here celebrate five French women composers at the turn of the twentieth century. Countess Clémence de Grandval was the composer of some sixty songs, of which Saint-Saëns said: ‘They would certainly be famous if their composer did not have what many people regard as the irremediable defect of being a woman.’
As a jazz critic, the first thing I notice with Myriam Alter’s latest release, cleverly titled It Takes Two, is a friendly reminder: Alter is not a jazz musician. The music on It Takes Two, as with most of the music from her releases over the years (dating back to the early 1990s), bespeaks of more elemental musical qualities and less so about altered chords (not to mention chord changes), intricate arrangements or rhythmic complexity, all qualities that are typically found in most of the music we call jazz.
Just when you think you’ve been through an archive with a fine-tooth comb and there’s nothing left that hasn’t seen the light of day, there’s always the attic – the long-forgotten tapes and acetates owned by the creators, and their most ardent collectors – especially when we’re talking about a legendary musical act such as The Seekers, the iconic Australian harmony group who have been together on and off for almost 60 years.