A subversive artist who has been censored many times, Alain Kan is better known in artistic circles than among the general public. Heureusement En France, On Ne Se Drogue Pas is one of his cult albums.
A composer who has been virtually indispensable in cinema since the 1980s, Danny Elfman has written the soundtrack for the new film Dracula. Once again, he masterfully illustrates fantastical and phantasmagorical atmospheres.
Los Angeles-based artist Ami Taf Ra, originally from North Africa, has released The Prophet And The Madman, her first album rooted in 1970s jazz that also pays tribute to other musical styles.
A leading figure on the American indie scene since 2010, Alex G’s album Headlights boasts a higher production quality, giving his lo-fi folk a new dimension.
Testifying to the alchemy between musicians Majid Bekkas, Nguyên Lê, and Hamid Drake, the seventeenth volume of Jazz At Berlin Philharmonic takes us on a leisurely journey from the sounds of Africa to North America.
Ten years after his album Léviathan, Flavien Berger called on the musicians of the band La Brume to rewrite his compositions and create plouf !, a pop album imbued with aquatic psychedelia.
Behind the pseudonym Drift lies Renaud Letang, a highly sought-after sound engineer and producer. His first album of pop music, At The Party, has the perfect tempo to accompany a quiet aperitif.
With rigor, the band Swans releases albums that remain difficult to access but never disappoint fans of their dark rock, somewhere between gothic and industrial. Such is once again the case with Birthing.
Twenty-four years after their split, Pulp treats us to More, a new studio album that is as unexpected as it is full of their legendary British pop, rich in orchestration and sensuality.
