Audimat is a French language critical review/journal about pop music, curated and supported by Les Siestes Electroniques. Pieces are mid length to long format, and all focus on specific aspects of pop music aesthetics, history and cultural meaning. The authors are French but also Australian, German, Swedish, American or British.
Its editorial line is halfway between an academic review and a hi-fi fanzine. Some pieces tends to be objective analysis of musical ideas and practices, but some others express personal ideas and bias towards particular objects. The whole idea behing this project is to cover pop music in a non-journalistic way, but also neither in a purely academic manner.
Content of Audimat 3:
Carl Wilson – Let’s Talk About Love & Céline Dion
Etienne Menu – Autarkic Techno
Michelangelo Matos – About Sremes’ « Love Child »
Louis Picard – Original Body Contour : Robert Quine
Jace Clayton – Tribal Guarachero: Mexican Teens & Aztec History
Julien Besse – Pop Montréal, the ever ongoing festival
Rod Glacial – An oral history of the French boogie
Content of Audimat 2:
Mark Fisher - Drake’s Money Spleen
John Seabrook - Inside Rihanna: The Song Machine
Julien Morel - Black Thrash Metal: the Ruff Ryders Crew
La Fougère - Misunderstandings about the history of dance music
Gérôme Guibert - Whan the CD was king
Olivier Lamm - Short stories about snare drums in the history of pop music
Simon Reynolds - EDM in the USA
Content of Audimat 1:
Yuppies versus Hipsters: the pop music underground, then and now by Adam Harper
Thrash-Metal, pop orgies and outraged gesticulations, by Lelo Jimmy Batista
Digital music, why bother ? by Guillaume Heuguet
World music is dead, by Johan Palme
Drexciya: a conceptual music? by Quentin Delannoi
Adorno VS Pop by Agnès Gayraud
"Les rouleaux de bois": a novel by Tristan Garcia
Contents of Audimat 0:
Diedrich Diederichsen - German music mag Spex stopped doing albums reviews, because they supposedly don’t mean anything anymore in today’s musicscape: why I disagree
Simon Reynolds - Since the very late nineties, the concept of futurism, that had previously been crucial in electronic dance music, seemed to vanish in a few years. Along with drugs and social utopia, the future-ness was one of the three key components of early house and techno spirit. What happened in the noughties? Has everything gone retro in dance music? Where has gone all the sci-fi and "avant" lingo?
Tim Finney - Groove and the ineffable: how rhythmic music becomes more compelling the more difficult it is to put into words how it functions
Louis Picard – A selected and commented discography of rare rock songs: were they too avant-garde or weird, or just plain bad or samey when they were first recorded ? Is there something like a - code of understanding the rare rock song ?
Paul Purgas - The aesthetics of remastering: the issue of remastering has never been a particular point of concern in electronic music, untile now ?
Etienne Menu - France has a very strong text-oriented musical tradition, as far as popular music is concerned. As a mostly sound-oriented medium, French rap has always suffered from this tradition. This might explain why some of our greatest MCs have been vastly ignored both by the critics and the potential fans.
Didier Lestrade - The discourse of desire and sexual challenge in Hi-NRG: how lyrics in Hi-NRG songs work as hidden expressions of gay erotic urges
Interview with Patrick Mauriès on camp in pop music: Broadway, disco, 80s soul and sophistipop – Camp is the singular attitude developed by Jewish gay intellectuals in the sixties and then relayed by Warhol’s Factory people and disco divas. It’s a blend of utmost seriousness and tongue-in-cheek irony, that never choses between the two.
If you read French and would like to purchase our Audimat magazine, plese go to http://revue-audimat.fr/boutique