{"title":"Musique","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003ePour les mélomanes et passionnés de son. Retrouvez des magazines indépendants consacrés à l'histoire de la musique, aux artistes émergents, à la culture vinyle et aux scènes underground.\u003c\/p\u003e","products":[{"product_id":"revue-audimat-22","title":"Audimat Review #22","description":"\u003cp\u003e\u003cstrong\u003eAbout the magazine:\u003c\/strong\u003e Audimat éditions pays attention to how life resonates in music, publishing essays on musical and social criticism, the social history of music, counter-narratives, and wild aesthetics.\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eContent :\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\n\u003cdiv class=\"product__articles__item\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading__info\"\u003e\n\n\u003cdiv class=\"product__articles__item__title\"\u003e \u003cstrong\u003eBallroom: Prequels\u003c\/strong\u003e\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__author\"\u003e \u003cem\u003eTim Lawrence\u003c\/em\u003e \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__achat\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e \n\u003cem\u003eDrag Race\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ecompleted its third season on France Télévision this year, while in small towns across France, young queers are gathering to learn the fundamentals of voguing. Stories are told, almost legends, of survivalist communities that invented a popular and fabulous form of art-entertainment, in reaction to the white dominance of drag dances in the United States. Part of the dance soundtrack is now taking off to become the jersey club, an essential sound not only in international dance music, but even in the French rap scene—yet few people refer to the discreet craftsmanship of a DJ like Mike Q, who helped define its foundations. What will be the fate of ballroom culture? The proliferation of sponsored drag performances and whitewashing? The development of a discreet but effective community support infrastructure across the board? The promotion of celebrity DJs specializing in the jersey club whose social and cultural origins have been forgotten? All of these at once? Only time will tell, but by tracing its origins in detail, historian Tim Lawrence makes the question very relevant, and invites those concerned to take a position. \u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading__info\"\u003e\n\n \u003cdiv class=\"product__articles__item__title\"\u003e\u003cstrong\u003eRatchet \/ Mumble\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__author\"\u003e \u003cem\u003eCamille Kingué\u003c\/em\u003e \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__achat\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n \u003cdiv class=\"product__articles__item__text\"\u003eLook, this is a piece about two of the most exciting musical trends of the young millennium: that already good, old, mushy rap à la Playboi Carti and the latest ratchet-up (aggressive, exuberant, trashy) hits from artists like Sexy Redd. But it's by Camille Kingué, and it's not every day we welcome a poet trained in art history. So rather than recap the history of these scenes, let's take a detour through the words of feminist essayist and poet Maggie Nelson. In\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eOf Freedom\u003c\/em\u003e , she is particularly interested in experiences with alcohol and drugs, and how these substances allow us to \"relieve ourselves of the burden of free will.\" But to achieve this, it is not enough to embrace one's own vulnerability—for not everyone is allowed to be vulnerable, at least not in the same way. This essay explores the ethical and aesthetic contours of this experience, by focusing on what rap does with it. Her lucid and uneasy writing also shows us a way of coming to terms with her own discomforts while asking a simple question: Why don't women make mumble rap? \u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading__info\"\u003e\n\n \u003cdiv class=\"product__articles__item__title\"\u003e\u003cstrong\u003eCountry \u0026amp; Variety\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__author\"\u003e \u003cem\u003eEtienne Castel\u003c\/em\u003e \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__achat\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n \u003cdiv class=\"product__articles__item__text\"\u003eAlthough it has always been a significant phenomenon in the United States of America, country music is now extending its global influence, notably through the success of Taylor Swift and Zach Ryan. A few years after Lil Nas X's exploits, Beyoncé participated by re-examining the genre's racial boundaries, launching a whole cycle of conversations between promotion and critical debate. These conversations found some echoes in the French media, demonstrating once again that we are often more comfortable discussing cultural conflicts in the United States than looking at ourselves in the mirror. We were therefore wondering how to think about the relationship of French listeners to country music, or if there were equivalents in France, when we discovered the texts of Étienne Castel. A country music enthusiast and (yes) avid blogger, he approaches it in a refreshing way, far from the purist scholar who constantly returns to the original masterpieces. In talking with him, we realized that France already had its own stories with country, including in the variety repertoires that we thought we knew well. These in turn raise many questions, because noticing the importance of country in French songwriting and in the charts also means thinking about the reasons that push some people to prefer this influence to that of blues or folk. Country elements are, of course, a way of playing on a rural identity consciousness. This identity is in turn based, more or less obviously, on (received) ideas about what would constitute a popular, traditional, or white culture. French artists can therefore find in it a way to invoke what would be for them a lived, intimate, and obvious experience, as well as a folkloric\/exotic setting for their songs. At a time when political scientists and politicians are discussing a \"peripheral France\" or a \"France of the small towns,\" it is interesting to see how French songs were able to find their countryside in the South of the United States, and thus reveal the futility of a rural identity perceived as authentic and unified. \u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading__info\"\u003e\n\n \u003cdiv class=\"product__articles__item__title\"\u003e\u003cstrong\u003eAll fire all woman\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__author\"\u003e \u003cem\u003eCharles Wesley\u003c\/em\u003e \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__achat\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n \u003cdiv class=\"product__articles__item__text\"\u003eWe had noticed the series of articles “Transvocalities” by Charles Wesley at\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eManifesto XXI\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003eand we were very happy when he offered to write something for our pages. The result took the unexpected turn of a sort of self-genealogy of his taste. It's an exercise that could appear a little vain in absolute terms, but it offers here a privileged point of view on a relationship with music that music criticism seems to struggle to record, and which is nevertheless central to electronic and pop music of the last ten years. This relationship is constructed in the crisscrossing between a noisy and experimental music that has become more and more carnal, a pop that brings out the barbs and an increasingly intimate techno-industrial. By approaching his listening from a skin-deep perspective, Charles Welsey puts back at the center a pornophonic musical mode that suddenly appears to us, like a secret that would have always been hidden in broad daylight, and which was only waiting for him to become so clear. Any quest for music suddenly becomes fundamentally erotic, at the same time as a way of testing one's body and transforming oneself. \u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading\"\u003e\n\n\u003cdiv class=\"product__articles__item__heading__info\"\u003e\n\n \u003cdiv class=\"product__articles__item__title\"\u003e\u003cstrong\u003eLana, Taylor \u0026amp; Jack\u003c\/strong\u003e\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__author\"\u003e \u003cem\u003eMitch Theriau\u003c\/em\u003e \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__achat\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n \u003cdiv class=\"product__articles__item__text\"\u003eWhile the roots of indie rock can be traced back to the 1960s, for example to the experiments of the Velvet Underground, its true birth certificate certainly dates back to the time of punk. After a few twists and turns on both sides of the Atlantic, its grunge offspring would be renamed \"alternative\" when wealthier American labels (yet independent of the majors) began signing bands like Sonic Youth or Dinosaur JR. Mainly coming from the white middle or upper classes, \"indie\" subsequently went beyond its rock origins, to define itself by its link with the practices of taste, distinction and \"informed choice\" of its listeners (record store and critical culture, collecting, digging, relationship to History, etc.). From the early 1990s, the popularity of a scene gravitating around this universe grew and its social base gradually broadened (we think of Fiona Apple, Björk or PJ Harvey). If we are to believe the literary critic Mitch Theriau, this movement of openness has intensified since the 2000s. It is as if the spirit of indie rock is now found to be assimilated everywhere, with the side effect of this impression that the era is characterized by its absence of sound, or rather by a neutral, even neutralized sound, which can evoke the distressing homogeneity of this globalized style of decoration that we find everywhere, from Airbnb to coffee shops. Jack Antonoff, one of the most emblematic producers of the years 2010-2020, has driven this evolution. This essay originally published in the magazine\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Drift\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003elooks back on his career and seeks to define his aesthetic to better understand the era.\u003c\/div\u003e\n\n\u003cdiv class=\"product__articles__item__text\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n \u003cp\u003e\u003cstrong\u003eLanguage:\u003c\/strong\u003e French\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eCondition:\u003c\/strong\u003e new\u003c\/p\u003e","brand":"Bon Oeil","offers":[{"title":"Default Title","offer_id":49602130739547,"sku":"","price":12.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0783\/4625\/6731\/files\/Audimat22-Bonoeilmagazines.jpg?v=1761592086"},{"product_id":"revue-audimat-maxi","title":"Audimat MAXI Review","description":"\u003cp\u003e \u003cstrong\u003eAbout the magazine:\u003c\/strong\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan\u003eTEN YEARS OF SENSITIVE \u0026amp; POLITICAL LISTENING IN ONE XXL VOLUME\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eFor the first time, Audimat is offering a best-of collection: Audimat Maxi, a large, comprehensive volume that brings together a selection of the best articles from our first 15 issues, already reissued and now out of print. Audimat Maxi looks back over more than ten years of musical niches in a wild encyclopedia, from vaporwave to UK funky, including New York beatmaking, noise, field recording, and power ballads.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cstrong\u003eContent :\u003c\/strong\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e Say what? UK Funky and the ineffability of groove - Tim Finney\u003c\/p\u003e\n\n\u003cp\u003e Thrash-Metal, pop orgies and outrageous gesticulations: manifesto of the immoderate and the unreasonable - Lelo Jimmy Batista\u003c\/p\u003e\n\n\u003cp\u003e Drake's Money Spleen - Mark Fisher\u003c\/p\u003e\n\n \u003cp\u003eA fragmentary and highly subjective history of the snare drum in pop music - Olivier Lamm\u003c\/p\u003e\n\n\u003cp\u003e Some preconceived ideas about the history of house music - La Fougère\u003c\/p\u003e\n\n\u003cp\u003e French as a second language - Agnès Gayraud\u003c\/p\u003e\n\n\u003cp\u003e The Age of Glitch: Utopia and Reification. For a Retrospective Critical Theory - Olivier Quintyn\u003c\/p\u003e\n\n\u003cp\u003e Gangsta-Rap: a postscript (2005-2015) - Fred Hanak \u0026amp; Pierre Evil\u003c\/p\u003e\n\n\u003cp\u003e Italy 70: Light Music, Years of Lead - Diane Lisarelli\u003c\/p\u003e\n\n\u003cp\u003e Music \u0026amp; Internet: You'll Never Guess the Impact on Your Brain! - Adam Harper\u003c\/p\u003e\n\n\u003cp\u003e What is a power ballad? - David Metzer\u003c\/p\u003e\n\n\u003cp\u003e Arranged Poems: Why Dig Even in the “Diction” Bin - Fanny Quément\u003c\/p\u003e\n\n\u003cp\u003e New Cyberpunk Dreams - Philippe Llewellyn\u003c\/p\u003e\n\n\u003cp\u003e Overdrive: Aesthetic History of an Electric Sound - Pierre Arnoux\u003c\/p\u003e\n\n\u003cp\u003e Music sounds better with who? - Étienne Menu\u003c\/p\u003e\n\n\u003cp\u003e After Psychedelia: Beyond Understanding - Julien Bécourt\u003c\/p\u003e\n\n \u003cp\u003eListening in the Ruins of Capitalism: Field Recordings and Forms of Life - Alexandre Galand\u003c\/p\u003e\n\n\u003cp\u003e Hail to Autotune - Simon Reynolds\u003c\/p\u003e\n\n\u003cp\u003e The Obsolescence of Intimate Songs - Mark Fisher\u003c\/p\u003e\n\n\u003cp\u003e Grime and gaming - Rob Gallagher\u003c\/p\u003e\n\n\u003cp\u003e Loving Punk as a Feminist - Ellen Willis\u003c\/p\u003e\n\n\u003cp\u003e De\/Reconstructing Club Culture - Victor Dermenghem\u003c\/p\u003e\n\n\u003cp\u003e The Platinum Age of New York Rap - Raphaël Da Cruz\u003c\/p\u003e\n\n\u003cp\u003e Precipitations of Slowness - Matthieu Saladin\u003c\/p\u003e\n\n\u003cp\u003e Dance Till You Collapse. Post-Crisis Party Pop - Dan Dipiero\u003c\/p\u003e\n\n\u003cp\u003e Noise and Nostalgia. The Call of Lost Innocence - Catherine Guesde\u003c\/p\u003e\n\n\u003cp\u003e Saving the Ambient from Itself - David Toop\u003c\/p\u003e\n\n\u003cp\u003e Arleen - Lucy Health\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eLanguage :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eFrench\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eState :\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003enine\u003c\/p\u003e","brand":"Bon Oeil","offers":[{"title":"Default Title","offer_id":49602150695259,"sku":"","price":30.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0783\/4625\/6731\/files\/AudimatMaxi-Bonoeilmagazines.jpg?v=1761592003"},{"product_id":"after-magazine-1","title":"After magazine #1","description":"\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eA propos du magazine : A\u003c\/strong\u003e\u003c\/span\u003e\u003cspan\u003eu travers de notre moulinette de l’après pour en sortir des sujets variés et on l’espère jamais lus. \u003c\/span\u003e\u003cspan\u003eEt le nom « after » dans tout ça ? Souvent utilisé avant, pour mieux définir ce qu’il se passe après, ce terme anglais sera notre “titre préfixe” pour chaque numéro. La lampe frontale qui viendra éclairer un nouveau sujet à chaque sortie avec différentes temporalités : court, moyen et long terme.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eContenu :\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003eEt dans ce premier opus, difficile de passer à côté d’un sujet… \u003cspan\u003eLa fête, la teuf, elle se vit et se lit à l’endroit ou à l’envers. Elle change de pays en pays, de ville en ville mais aussi et surtout, d’année en année. Elle se raconte, beaucoup, mais s’oublie surtout. Alors que reste-t-il une fois qu’elle est passée ? D’ailleurs existe-t-elle seulement, y a t il une fête ou bien des fêtes ? \u003c\/span\u003e\u003cspan\u003eQue se passe-t-il quand le club ferme ses portes, quand on ne peut plus la faire, quand elle est exclusive, virtuelle, remplacée, transformée ou tout simplement quand tout le monde dort ? \u003c\/span\u003e\u003c\/p\u003e","brand":"Bon Oeil","offers":[{"title":"Default Title","offer_id":52425391472987,"sku":null,"price":25.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0783\/4625\/6731\/files\/After_1_Bon-Oeil-Magazines.jpg?v=1771581601"},{"product_id":"magazine-record-culture-11","title":"Record Culture magazine #11","description":"\u003ch2\u003eRecord Culture magazine — Le magazine culte qui explore la musique de niche, le design et l'art de vivre\u003c\/h2\u003e\n\u003cp\u003eFondée en 2016 à Chinatown (New York), \u003cstrong\u003eRecord Culture Magazine\u003c\/strong\u003e est une publication imprimée indépendante devenue incontournable pour les passionnés de musique alternative, de design intérieur et de culture visuelle. Ce onzième volume offre une immersion rare et intimiste dans les maisons et les studios d'artistes, de producteurs et de figures influentes de la scène underground mondiale.\u003c\/p\u003e\n\u003ch3\u003eAu sommaire de ce numéro 11 :\u003c\/h3\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eInterviews \u0026amp; Portfolios intimistes : \u003c\/strong\u003eRencontres au long cours avec Nicolas Godin (AIR), Jean Touitou (fondateur d'A.P.C.), Fraser Cooke, Paul Takahashi, Kiki Kudo, Frankie Teardrop, Jamie Tiller, Sound Metaphors, OKO DJ et Ariel Zetina.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eRécits \u0026amp; Créations visuelles : \u003c\/span\u003e\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eLa nouvelle « Plant Bar » signée Luke Jenner (The Rapture) et le portfolio artistique « Eddie Ruscha: Sound \/ Waves ».\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eLivrets suppléments inclus :\u003c\/span\u003e\u003c\/strong\u003e\u003cstrong style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003cstrong\u003e\u003cstrong\u003e \u003c\/strong\u003e\u003c\/strong\u003e\u003c\/strong\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eCe numéro d'exception inclut le livret « The Invitations of Life... Child! » issu des archives personnelles du légendaire Nicky Siano (The Gallery), ainsi que le carnet photo « You Can Hear Your Own Heartbeat » capturé par Kento Mori chez Audio-Technica.\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e","brand":"Bon Oeil","offers":[{"title":"Default Title","offer_id":54172560982363,"sku":null,"price":28.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0783\/4625\/6731\/files\/record-culture-magazine-11.jpg?v=1790196087"}],"url":"https:\/\/bon-oeil.com\/en\/collections\/musique.oembed","provider":"Bon Oeil","version":"1.0","type":"link"}