m Fatoumata Diawara le Peuple Qui Danse

Univers Zero guitarist Roger Trigaux left the group after their second release, Heresie, and formed Present. This reissue combines 1980's Triskaïdékaphobie with 1985's Le Poison Qui Rend Fou. Trigaux was joined on the 1980 debut by Univers Zero drummer Daniel Denis and bassist Christian Genet, who played on Univers Zero's first release. Le Poison Qui Rend Fou maintains the same lineup, except that bassist Ferdinand Philippot replaces Genet on electric bass…

Following their uncompromising and psychotic debut album, the similary styled "Le Poison Qui Rend Fou" isn't something to joke about either. This time around, Roger Trigaux' songwriting tends to be more diverse and less minimalist sounding, keeping the hypnotic and gloomy moods present on Triskaidekaphobie only with a slightly less demanding approach…

MAGMA have influenced quite a number of bands since the 70's. However, if most zeuhl artists tend to focus on this band's martial rhythms and dark moods, MUSIQUE NOISE concentrated on their lighter side. They took shape in 1986 with some ex-ESKATON and AUTOPSIE members, namely two keyboards players, a bassist and a drummer; then came a sax player, a trumpeter and two classically trained female singers…

After Polyeucte (1878), Gounod tackled the operatic genre for the last time in 1881 with what is probably his most ambitious work, Le Tribut de Zamora. The action takes place in ninth-century Spain – from Act Two onwards, on ‘a picturesque site on the banks of the Guadalquivir before Córdoba’. Here Gounod – finally noted more for his neoclassical pastiches (Le Médecin malgré lui and Cinq-Mars) and his ardent Romanticism (Faust and Roméo et Juliette) – was given an opportunity to display his talents as an orchestrator and colourist in an exotic setting. He produced an epic in the tradition of French grand opéra, with numerous ensembles and showpiece airs.

French violinist Clement Janinet composes music for quartet inspired by the lyricism of the free jazz melodies of the 60s (Ornette Coleman, Phoraoh Sanders, &c.) and the timbral and rhythmic textures of repetitive music (Steve Reich, Philip Glass, John Adams, &c) in several quartet configurations including bass clarinet, tenor sax, bass, drums, guitrar, and cello.