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Mina May - Everything was beautiful and nothing hurt

From their different journeys towards other lands, the muscians of Mina May have conserved their taste for travel. After spending a year in Canada ( in particular a concert with SUUNS ) then a notable return for the MIDI festival 2011, these outsize globe-trotters claim and assume influences which could well constitute the ideal discotheque for the demanding music lover,from Nina Simone to Can through Brenda Lee and Pink Floyd.

Mina May advance by instinct and shun labels, which means that they are still considered today as an anomaly in the landscape, strangers in their own country. Neither by snobishness or elitism but simply by love of the quest, far from all clichés. Influenced by the most well defined mainstream, as well as by the least banal outskirts, the group advances blindly, with just one desire - to surprise. And convinced that only an acute knowledge of the past enables one to forsee the future, they jumble, mix, and often twist the musics that have inspired them, always with the same objective: to explore in the most sundry places the matter to nourish their hybride pieces.

Following a first eponimous album and an ambitious EP (skylarking) "Everything was beautiful and nothing hurt" is an invitation to journey in unknown territory, on a map where Europe mingles with Africa and America, where polyrythmies repose on the shamanic melodies of Neil Young or the Stooges. An approach stradling several continents, far from the cortex but close to feet and rythm, with titles which celebrate, above all,pleasure,play and intuition. DIY for the sake of controle, the quatuor do not claim instrumental perfection and stunning technicity, prefering in face of these vertues the vice of surprise, accident or unnatural mixture.

More than an addition of four musicians, Mina May is one of those groups who tend to confuse the issue and erase the individualities, all this in favour of a sonic ideal, with as only directive the desire to lose, so as to better rediscover oneself. From point A to point B the beauty of the voyage springs from the course taken, often psychedelic but never approximative. An undeniable gift for melodies sustains the work and remindes us that, if journey there is, it is above all in first class.


Mastered by François Fanelli in the studio Sonics Mastering