21 YEARS ON…THE LONG-AWAITED RE-ISSUE OF STARDUST’S “MUSIC SOUNDS BETTER WITH YOU”
TRIO OF THOMAS BANGALTER (DAFT PUNK), ALAN BRAXE, AND BENJAMIN DIAMOND REISSUE LANDMARK SINGLE ON STREAMING PLATFORMS FOR THE FIRST TIME EVER + 12” VINYL TODAY
“Stardust’s ‘Music Sounds Better With You’ is one of the most important songs in the French house canon” – Pitchfork
“Arguably the finest example of the filter-heavy, euphoric brand of house dubbed ‘French touch’ that reached its zenith in the late ‘90s”
“Stardust’s ‘Music Sounds Better With You’ inadvertently changed the face of house music” –
28 JUNE 2019 (TORONTO, ON) - The legacy of one of the most instantly recognizable records in house music history and one that has changed face of dance music globally continues as for the first time ever is available today digitally on streaming platforms.
Preluding an era of domination by the helmet clad duo Daft Punk; originally released in 1998, “Music Sounds Better With You” was the eye of a perfect techno-cultural storm and became an immediate touchstone for a new and uniquely French kind of dance music that foregrounds filtered disco samples and deeply swung garage rhythms. Meeting by chance at a house party in the emerging electro scene in Paris in the mid-1990s, Alan Braxe and Thomas Bangalter formed a creative partnership that begins officially with “Vertigo”, Braxe’s first single, released via Bangalter’s Roulé imprint in 1997.
“It wasn’t meant to be a hit. It wasn’t even planned to be released” yet the feel-good house track has for the past two decades infiltrated every corner of dance music, the radio airwaves, clubs, industry and DJ’s of all genres with its infectious glittering of uplifting groove.
With a vinyl reissue and available officially on digital platforms for the first time ever via Because Music, what makes the song endure, where so many other hits of that era have been relegated to curiosity, unkindly treated by time?
Part of it is its timelessness, the sense that it was always-already outside time, a throwback to another generation, and at once a musical imagining forward into a technotopian, post-human future, one in which the mortal body would become just another constituent agent in a sprawling global ecosystem of digitally networked assemblages.
Another part of it is its cool simplicity, its unapologetic stripping away of anything extraneous, with nothing to disrupt or distract us from its modus operandi: to feel good experiencing music together.