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Persona (Nouvelle édition)

Bertrand Belin

French Music - Released February 1, 2019 | Wagram Music - Cinq 7

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Même pas sommeil

CharlElie Couture

French Music - Released January 25, 2019 | Rue bleue

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Les nuits de Repentigny

Les Cowboys Fringants

French Music - Released March 12, 2021 | La Tribu

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De la fontaine

Beendo Z

Hip-Hop/Rap - Released October 13, 2023 | Guette Music

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Rose Kennedy (Edition Deluxe)

Benjamin Biolay

French Music - Released May 7, 2001 | Parlophone (France)

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Sebolavy

Mickey 3d

French Music - Released April 1, 2016 | Parlophone (France)

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Sans titre #7

Grems

Hip-Hop/Rap - Released January 19, 2018 | Gremsindustry

There is the surface of the earth. And there is what lies beneath. That is, the underground... For years, Michaël Eveno alias Grems has been busying himself in this no-man's-land that is bubbling with ideas and sounds. His furious, crazy hip-hop projects are unlike any others. The DNA is rap, but strident notes of electro also dot the landscape. Without this style, Hyacinthe, Roméo Elvis or Lomepal would surely never have moved past playing with their Playmobil… With Sans Titre #7, the writer of Algèbre (2004), Airmax (2006), Vampire (2013), Buffy (2014) and Green Pisse (2016) consistently threw out more and more of that madness that only he can produce. The punchlines are impressive, and the minimalism of the production avoids unnecessary ornament. In short, in the year that he turns 40, Grems has imposed his deviant and mordant style even more firmly upon Gallic rap. © MZ/Qobuz
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LES ÉTOILES & VARIATIONS

CHATON

Alternative & Indie - Released March 31, 2023 | Le Contenu

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De l'indécence

Antoine Bataille

French Music - Released April 2, 2021 | Le Passage

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Session #55 (1936-2001)

Les Brown & His Band Of Renown

Jazz - Released July 10, 2001 | Jake Records

HEARTBREAK LIFE II

Kaza

Hip-Hop/Rap - Released January 12, 2024 | Elektra France

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De la fontaine

Beendo Z

Hip-Hop/Rap - Released October 13, 2023 | Guette Music

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Import Export

Les Poissons Voyageurs

Folk/Americana - Released December 1, 2019 | iMD-LesPoissonsVoyageurs

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Les perf' de katp #4

Kiddam And The People

Hip-Hop/Rap - Released February 1, 2019 | Sept Development

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Folie

Grodash

Hip-Hop/Rap - Released May 14, 2021 | #FMV Flymen Vision & Les productions des 3 cercles

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Mercury - Acts 1 & 2

Imagine Dragons

Alternative & Indie - Released July 1, 2022 | Kid Ina Korner - Interscope

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After the catharsis of 2021's Act 1, Imagine Dragons complete the story with Mercury: Act 2, a whopping 18-track journey that examines the time after the shock and grief of loss has begun to settle. While part one processed those messy emotions with some of the rawest and most vulnerable moments in the band's usual radio- and gym-friendly catalog, part two loses focus by biting off more than they can chew. There are plenty of great songs here -- fully expected for a band as hook-savvy as Imagine Dragons -- but there's simply too much going on and not enough editorial trimming to make this as impactful an experience as Act 1. Starting strong with irresistible singles "Bones" and "Sharks," Act 2 soon takes a turn to the pensive and reflective, with frontman Dan Reynolds lamenting his shortcomings on "I Don't Like Myself" and pleading for relief on "Take It Easy." The second half of the album is weighed down by similar moments, snuffing the momentum of the handful of classic stompers peppered throughout. Of this introspective bunch, the country-dusted acoustic gem "Crushed" is on par with "Wrecked" as a tearjerking standout, as "Sirens" merges the group's usual radio-friendly ear with a deep well of emotion. While the buoyant handclaps-and-synths highlight "Younger" and the riffs-and-breakbeats blazer "Blur" come closest to joining their array of mainstream smashes on a future Greatest Hits set, the bulk of Act 2 is truly for the dedicated fans who care to patiently sit with Reynolds and his feelings until everyone's ready to pump out a more focused and immediate set. [Compiling both parts on Mercury: Acts 1 & 2, the band presents the full experience across an expansive 32 tracks, which joins Act 1 and 2 as well as the hit single "Enemy" with JID from the Arcane League of Legends soundtrack.]© Neil Z. Yeung /TiVo
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Over-Nite Sensation

Frank Zappa

Rock - Released September 1, 1973 | Frank Zappa Catalog

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Love it or hate it, Over-Nite Sensation was a watershed album for Frank Zappa, the point where his post-'60s aesthetic was truly established; it became his second gold album, and most of these songs became staples of his live shows for years to come. Whereas the Flo and Eddie years were dominated by rambling, off-color comedy routines, Over-Nite Sensation tightened up the song structures and tucked sexual and social humor into melodic, technically accomplished heavy guitar rock with jazzy chord changes and funky rhythms; meanwhile, Zappa's growling new post-accident voice takes over the storytelling. While the music is some of Zappa's most accessible, the apparent callousness and/or stunning sexual explicitness of "Camarillo Brillo," "Dirty Love," and especially "Dinah-Moe Humm" leave him on shaky aesthetic ground. Zappa often protested that the charges of misogyny leveled at such material missed out on the implicit satire of male stupidity, and also confirmed intellectuals' self-conscious reticence about indulging in dumb fun; however, the glee in his voice as he spins his adolescent fantasies can undermine his point. Indeed, that enjoyment, also evident in the silly wordplay, suggests that Zappa is throwing his juvenile crassness in the face of critical expectation, asserting his right to follow his muse even if it leads him into blatant stupidity (ironic or otherwise). One can read this motif into the absurd shaggy-dog story of a dental floss rancher in "Montana," the album's indisputable highlight, which features amazing, uncredited vocal backing from Tina Turner and the Ikettes. As with much of Zappa's best '70s and '80s material, Over-Nite Sensation could be perceived as ideologically problematic (if you haven't got the constitution for FZ's humor), but musically, it's terrific.© Steve Huey /TiVo
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Debussy: Complete Orchestral Work

Jun Märkl

Classical - Released January 30, 2012 | Naxos

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But Who's Gonna Play the Melody?

Christian McBride

Jazz - Released March 22, 2024 | Mack Avenue Records

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A bassist vital to the US jazz scene since the 90’s – partner of choice for musicians as notable as Joe Henderson, Joshua Redman, Roy Hargrove, and Pat Metheny – Christian McBride, alongside his frequent work as a sideman (on over 300 records to date), leads a rich career as a frontman, expanding upon his orchestral formations (from trios to big band) in varying registers. He encompasses a large palette of styles that are always deeply anchored in the foundations of traditional African-American jazz. This new record conceived and recorded in partnership with another bass virtuoso, Edgar Meyer, himself exploring other idioms and imagining other landscapes (from bluegrass to “crossover” classical), indisputably introduces a new perspective to the bassist’s rich discography.Intended to feel like a conversation between friends, each speaking in a relaxed, playful tone, offering support through active listening in order for each to be able to “play their own melody” with full peace and security of mind, But Who’s Gonna Play the Melody? sounds like a charming and timeless departure into a world entirely dedicated to the bass. Applying their great virtuosity towards each melody, without ever veering into competitive territory, the two musicians, with an irresistibly natural sense of groove, never cease to seduce the listener through a repertoire that draws not only from jazz, but also from folk, classical music, bluegrass, and funk, making room for the kind of collective memory that goes beyond styles and generations. An album with no pretense other than the pure pleasure of playing music – authentically all-encompassing in the best possible way. © Stéphane Ollivier/Qobuz