Tomotaka Okamoto – Harunanoni Omohiuta (2016)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:01:38 minutes | 1,17 GB | Genre: J-Pop
Studio Masters, Official Digital Download | Booklet, Front Cover | © Deutsche Grammophon (DG)

Tomotaka Okamoto was born in Sukumo city, Kochi prefecture in 1976. While a student in Kunitachi College of Music, he won prizes in several music competitions. He was appointed as a soprano soloist and made a impressive debut at the recital called “Revive the Ninth Symphony!”, which celebrated the 80th anniversary of the premiere performance of the Beethoven’s Ninth Symphony.

After graduating from the college, he entered the Paris Poulenc Conservatoire. He graduated with top honors unanimously.

With clever splendid virtuosity and rich musicality, his irresistible singing voice is greatly acclaimed in the world and his concerts have always impressed the full-housed audience. He actively challenged solo concerts with various categories of arts and held amusing concerts for primary and middle school students. With his character full of humor and his myriad challenges, he expands his activities to several media including a play, TV and radio appearances, and newspapers. His phenomenal singing voice with both a range of female soprano voice and a powerful voice of adult male transcend gender, and he has the prospective future as the one and only Sopranista in Japan.

Tracklist:
01. Harunanoni
02. Mokurenno Namida
03. Inochino Uta
04. Ito
05. Sakurano Hanayo Nakinasai
06. Ueo Muite Arukou
07. Mouichido Futaride Utaitai
08. Ichigo Ichie
09. Hanano Kubikazari
10. Ikiru Monono Uta
11. Boléro 3

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tUnE-yArDs – I can feel you creep into my private life (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 44:13 minutes | 498 MB | Genre: Alternative
Studio Masters, Official Digital Download | Front Cover | © 4AD

As her fortieth birthday approaches, has Merrill Garbus finally decided to tidy her room? The unclassifiable, genial and completely mad Mrs. tUnE-yArDs nicely develops her wanderings in the world of indie DIY with her fourth album which only sounds like… Merrill Garbus! Eclectic and gifted, the American once again draws her inspiration from rhythmic guitar sounds coming from almost everywhere, that she integrates with her accomplice, bass player and producer Nate Brenner, into her spicy and suitably disconcerting cocktail. It’s pop, ethno, folk, funky, in short it’s impish, mad, unpredictable, smart, funny and, above all, it stops at nothing! Except that this time, the compositions follow one another with more fluidity and even include more groovy, or even disco, sounds. At the root of this slight mutation is a six-month break taken by Garbus for a meditation retreat. Her music doesn’t come out of it any quieter or more civilized, not at all! It just seems more obvious, more natural. Anyway, with I can feel you creep into my private life, tUnE-yArDs makes the artsy pop tastier than ever.

Tracklist:
1. Heart Attack (03:43)
2. Coast to Coast (03:55)
3. ABC 123 (03:34)
4. Now as Then (03:52)
5. Honesty (03:38)
6. Colonizer (03:54)
7. Look at Your Hands (03:46)
8. Home (04:18)
9. Hammer (03:15)
10. Who Are You (03:17)
11. Private Life (03:20)
12. Free (03:41)

Download:

https://subyshare.com/klqow9dsw1j9/TuneYardsIcanfeely0ucreepint0myprivatelife20182444.1.rar.html

Various Artists – Szymon Brzóska: Migrations (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 49:52 minutes | 476 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Odradek Records

Migrations is a collection of chamber works by Szymon Brzóska. Each piece is structured with clarity and intimacy, drawing the listener in, taking us on an exhilarating journey or offering moments of contemplation.

Szymon Brzóska’s compositions have frequently been inspired by other art forms, particularly that of contemporary dance. Yet the nature of the music, whilst often evocative, even impressionistic, is not programmatic, and therefore need not be married to its original source. Rather, Brzóska’s oeuvre works just as effectively presented, as here, as a series of stand-alone chamber works, independent of their original contexts. On this disc, the listener is afforded the opportunity of travelling with this music in new directions ? different, perhaps from the images, the shapes of the dancers, the artistic ideas, initially connected with the music, but as vividly felt by each person who takes the time to engage with these scores.

Szymon Brzóska has always been drawn towards collaborations with different art forms, composing for film, theatre and visual art. His musical style falls somewhere between contemporary avant-garde and expanded tonality with touch of minimalism. The music on this album features pieces from the following ballet productions:

Sutra Sidi Larbi Cherkaoui and monks from the Shaolin Temple (Sadler’s Wells, London, 2008)

Orbo Novo Sidi Larbi Cherkaoui and Cedar Lake Contemporary Ballet (New York, 2009)

Dunas Sidi Larbi Cherkaoui and María Pagés (Madrid, 2009)

(S)NOW Joost Vrouenraets (Danshuis Station Zuid, Tilburg, 2010)

Oh, Noh Kaya Kolodziejczyk (Warsaw, 2012)

Casting Traces New Movement Collective (London, 2012)

Overture David Dawson (Het Nationale Ballet, Amsterdam, 2013)

Unintended Consequences Sjoerd Vreugdenhil (Poznan, 2014)

Tracklist:
Szymon Brzóska (b.1981)
1. Orbo Novo: Passacaglia (02:53)
2. Oh, Noh: Motus (03:32)
3. Sutra: Ultima Forsan (02:09)
4. Orbo Novo: In Perpetuum (03:21)
5. Unintended Consequences: Vesperi (03:34)
6. Orbo Novo: Rapidus (01:49)
7. Orbo Novo: Antiphona I (01:23)
8. Dunas: Follow (02:18)
9. (S)NOW: omnus (02:15)
10. Overture: Venatus (03:36)
11. Orbo Novo: Antiphona II (01:12)
12. (S)NOW: Movement I (01:38)
13. Orbo Novo: Slide (04:10)
14. Oh, Noh: Metus (02:37)
15. Orbo Novo: Cohaesio (03:29)
16. Unintended Consequences: Movement II (01:54)
17. Orbo Novo: Ultima Necat (02:32)
18. Casting Traces: Migrations (05:30)

Personnel:
Olga Wojciechowska – I Violin
Emanuel Salvador – II Violin
Emilia Goch Salvador – Viola
Tomasz Szczęsny – Cello
Barbara Drążkowska – Piano

Download:

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Vaneese Thomas – The Long Journey Home (2016)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 55:41 minutes | 613 MB | Genre: Blues
Studio Masters, Official Digital Download | Front Cover | © Segue Records

One of Rufus Thomas’ many talented children, Vaneese Thomas enjoyed some big success in the late ’80s as a solo vocalist on Geffen. Her debut LP, Vaneese Thomas, had a pair of Top 20 R&B hits in “Let’s Talk It Over” and “(I Wanna Get) Close To You” in 1987. While the follow-up record didn’t sustain that success, Thomas remained busy into the early ’90s doing session work for Lenny White, Bob James, Carl Anderson, Freddie Jackson, Beau Williams, Melba Moore, and Sarah Dash. ~ Ron Wynn

With an inherited musical talent, and a professional recording career going back over thirty years, vocalist Vaneese Thomas has appropriately titled her latest release The Long Journey Home, home being her Memphis roots of blues, gospel, and soul. Her last release Blues For My Father, (2014 Segue Records) was an emotional tribute to her father, legendary soul man Rufus Thomas, and this new record continues the family legacy bestowed upon her. Composing eleven of twelve songs, ascertaining she is very much a modern woman with her own story to tell, Thomas delivers a dazzling repertoire, and gives a master class on how this music should be performed.

As is to be expected, Thomas comes out with a full backing chorus on “Sweet Talk Me,” exhibiting her soul roots right from the first track. The greasy down home blues of “Lonely No More,” shows the proper phrasing and articulation that only comes from having been to where the song comes from. The honking tenor solo by Cliff Lyons livens up “Sat’day Night On The River,” flashing back to Louis Jordan and the golden age of rhythm and blues, when this music was played for dancing and good times.

Thomas totally dominates “Mystified,” a contemporary upbeat blues with a sanctified edge, brought out by the clever guitar hook playing off of the horn section, augmented by the rousing chorale. Thomas is obviously at ease here, and simply sings her heart out. Another gem in the set, “Prince Of Fools,” follows this particular formula, yet the pace is brought way down for the proper ambience of romantic regret. The banjo and dobro picking distinguish the churning “Country Funk,” while “Rockin’ The Blues Away,” is a laid back moan, again featuring Peter Calo on dobro. Keeping with the blues tradition, “Revelation,” brings in harmonica man Rob Paparozzi, and Tash Neal on dobro, to enhance the required emotion.

The subject matter gets serious as “The More Things Change,” takes a close look at the civil rights situation in America, and how throughout Thomas’s lifetime there has been some improvement, but it’s a shame that more has not been accomplished. Maintaining that thoughtful mood, she summons up her gospel influences with “Mean World,” where she also plays the appropriate piano accompaniment, in the true church manner.

The blues/rock oriented “I Got A Man In TN,” turns up the guitars as Thomas proves she can belt it out with the best of them. Flowing along the rock current, they close out with a rousing rendition of Fleetwood Mac’s “The Chain,” though it might appear an odd choice, this version is given a strong dose of Memphis rhythm and blues, with the background singers adding a spiritual element.

Vaneese Thomas and producer Wayne Warnecke brought in veteran musicians for these sessions, which have the dynamics of a live soul revival caught on tape. Thomas sings with authority and conviction, blessed with a voice she acknowledges comes from her ancestors, who created the blues to give expression to their anguish and joy, and she righteously does them proud. ~ By JAMES NADAL

Tracklist:
01. Sweet Talk Me
02. Lonely No More
03. Sat’day Night on the River
04. Mystified
05. Country Funk
06. The More Things Change
07. Prince of Fools
08. I Got a Man in Tn
09. Rockin’ Away the Blues
10. Revelation
11. Mean World
12. The Chain

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Voces8 – Equinox (2018)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:10:48 minutes | 630 MB | Genre: Classical
Studio Master, Official Digital Download  | Front Cover | © VCM Records

EQUINOX. Equal night, equal day; a threshold between the seasons. For centuries, the English New Year was marked not in January, but after the spring EQUINOX, on Lady Day – the feast of the Annunciation, where Mary learns that she will give birth to the Christ child. Like many of the waypoints in the church year, the timing of this festival evolved from earlier pagan rites deeply rooted in the seasons and the slow, constant shifting of the natural world around us. Hope is born in the depths of winter; new life rises in spring. The musical selections on this album are inspired by the themes of Jonathan Dove s song cycle The Passing of the Year. The term cycle seems particularly appropriate for a work whose subject is the changing of the seasons – seven poems charting the course of one year and closing as a new one begins. This journey from new birth in spring to the death of the year in winter led us to think about the cycle of human life, and the ways in which we mark our time here on earth.

Tracklist:
01. In Paradisum (Processional) 00:57
02. Es ist ein Ros entsprungen 03:56
03. A Hymn to the Virgin 03:55
04. Maria Durch ein Dornwald ging (Arr. Stefan Claas) 02:20
05. Joseph, lieber Joseph mein 01:55
06. Angelus ad Virginem 03:06
07. This Ember Night 06:53
08. The Passing of the Year: I. Invocation 01:18
09. The Passing of the Year: II. The narrow bud opens her beauties to sun 02:49
10. The Passing of the Year: III. Answer July 02:00
11. The Passing of the Year: IV. Hot sun, cool fire 02:50
12. The Passing of the Year: V. Ah, Sun-flower! 02:07
13. The Passing of the Year: VI. Adieu! Farewell earth’s bliss! 05:26
14. The Passing of the Year: VII. Ring out, wild bells 04:38
15. Magnificat 07:04
16. Ave Maris Stella 03:49
17. God Grant with Grace 01:23
18. In Beauty May I Walk 04:47
19. Requiem Aeternam 00:59
20. Pie Jesu (From “Requiem, Op. 48”) (Arr. Barnaby Smith) 03:40
21. They Are at Rest 03:53
22. In Paradisum (Recessional) 01:04

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Voces8 – Lux (2015)
FLAC (tracks) 24 bit/96kHz  | Time – 01:11:42 minutes | 1,27 GB | Genre: Classical
Official Digital Download – Source: ProStudioMasters | © Decca

This luminous collection from British vocal ensemble Voces8 spans over 400 years of music, from Thomas Tallis and Gregorio Allegri to Massive Attack and Ben Folds Five (The Luckiest, which appeared in the Richard Curtis film About Time). Also Includes popular classics such as Allegri’s Miserere and Elgar’s Nimrod. Paul Mealor’s pieceUbi Caritas was commissioned by Prince William and sung at his wedding to Catherine Middleton in 2011.

Moving from the Signum label to the major Decca, the British choir Voces8, indeed an octet, breaks into new territory with its debut release for the Lux label. The album, with its vaguely positive theme and its mix of Renaissance, contemporary British and American, and pop selections, is aimed squarely at Britain’s substantial crossover market. But it departs from earlier easy-on-the-ears collections in several ways, and it’s worth the time of anyone who likes virtuoso choral singing. Voces8 not only takes on the difficult octet vocal blend, they spice things up by using a pair of countertenors on the alto parts (this Lux shares with the group’s earlier recordings). The shimmering effects that result are quite impressively controlled and even more significantly beautifully engineered in a pair of locations. Choirs have sung arrangements of the likes of Massive Attack and Ben Folds before, but it’s not often that choral singing of this quality has been applied to them. The whole thing is so beautiful that the pieces of music do run the risk of seeming to run together, and an hour of pleasant aural surroundings may be what’s on the mind of many buyers. But this release offers something a step above the basics.

Tracklist:

01 – Ubi Caritas
02 – O Nata Lux
03 – Lux Aeterna
04 – Teardrop
05 – Mother Of God, Here I Stand
06 – Miserere Mei
07 – Stars
08 – Ave Maria 1
09 – Prayer To A Guardian Angel (with Matthew Sharp)
10 – Bogoroditse Devo
11 – O Nata Lux (with Christian Forshaw)
12 – The Luckiest
13 – Corde Natus Ex Parentis (with Christian Forshaw)
14 – My Lord Has Come
15 – Ubi Caritas
16 – In Paradisum (with Christian Forshaw)
17 – Prayer To A Guardian Angel
18 – Libera Nos 1 (with Christian Forshaw)
19 – Libera Nos 2 (with Christian Forshaw)

Produced by Adrian Peacock and Alexander Van Ingen. Recording and Mixing Engineer: David Hinitt.
Recorded May 15 & 16, and July 7 & 8, 2014 at Dore Abbey in Herefordshire, England as well as May 27, 2014 at St Michael’s Church in Highgate, London.

Musicians:
Barnaby Smith – countertenor and artistic director
Christopher Wardle – countertenor
Andrea Haines – soprano
Emily Dickens – soprano
Oliver Vincent – tenor
Samuel Dressel – tenor
Paul Smith – baritone
Dingle Yandell – bass

Christian Forshaw – saxophone
Matthew Sharp – cello

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Xavier de Maistre – Mozart (2015)
FLAC (tracks) 24 bit/48 kHz  | Time – 01:06:12 minutes | 672 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Sony Classical

Acclaimed solo harpist Xavier de Maistre has gained a reputation as one of the most extraordinary musicians of this generation.

The harpist’s first Mozart recording, including the concerto for harp & flute and transcriptions of piano works, was recorded in Mozart’s hometown with one of the most authoritative and renowned Mozart orchestras conducted by Ivor Bolton

Xavier is generally fêted as the artist who has managed to liberate the harp from its reputation for wonderful but very soft sounds, and establish it as a solo instrument in the concert hall. He has appeared with major orchestras under the direction of such eminent conductors as Riccardo Muti, André Previn or Simon Rattle. In 1998 he joined the prestigious Vienna Philharmonic Orchestra – a position which he left in summer 2010 in order to devote himself to his international solo career.

Tracklist:
Wolfgang Amadeus Mozart (1756-1791)
01. Piano Concerto in F Major, No. 19, K 459: Allegro vivace
02. Piano Concerto in F Major, No. 19, K 459: Allegretto
03. Piano Concerto in F Major, No. 19, K 459: Allegro assai
04. Concerto for Flute and Harp in C Major, K. 299: Allegro
05. Concerto for Flute and Harp in C Major, K. 299: Andantino
06. Concerto for Flute and Harp in C Major, K. 299: Rondo (Allegro)
07. Sonata for Piano No.16 in C Major, K 545: Allegro
08. Sonata for Piano No.16 in C Major, K 545: Andante
09. Sonata for Piano No.16 in C Major, K 545: Rondo
10. Adagio for Glass Harmonica in C Major, K 617a

Personnel:
Xavier de Maistre (harp)
Magali Mosnier (flute)
Mozarteumorchester Salzburg
Ivor Bolton (conductor)

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Yannick Nézet-Séguin, Miah Persson, Chamber Orchestra of Europe – Mozart: Così fan tutte, K588 (2013)
FLAC (tracks) 24 bit/96 kHz  | Time – 03:02:45 minutes | 3,42 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Deutsche Grammophon (DG)

The second of DG’s series of seven Mozart operas conducted by Yannick Nézet-Séguin, and initiated by Rolando Villazón. This Così fan tutte enchanted the Baden-Baden Festspielhaus audience when recorded in concert in 2012, with Nézet-Séguin inspiring his stellar cast to feats of vocal derring-do.

Starring a thrilling cast of both young and experienced Mozart opera stars including accomplished soprano Mojca Erdmann as Despina, acclaimed Mozartian soprano Miah Persson and prize-winning young American mezzo Angela Brower as the emotionally manipulated sisters Fiordiligi and Dorabella. Also joining this crème-de-la-crème cast are distinguished Mozart bass-baritone Adam Plachetka as Guglielmo and Italian buffo baritone Alessandro Corbelli as Alfonso.

Youthful exuberance tempered by depth of insight make this a rare Così, a must for even the most seasoned opera lover.

“… Miah Persson, an immaculate Mozartian (she’s Fiordiligi), the coppery-toned Mojca Erdmann (Despina), and the American mezzo-soprano Angela Brower, a volatile Dorabella … it’s the orchestral felicities that hit home first … The continuo parts in the recitatives are nimble and witty. An upward harpsichord tingle conjures a distand ship; an arpeggio smear suggests Dorabella flinging away her breakfast. Magic moments … the orchestra’s stunning.” (Geoff Brown, The Times)

“Perfect listening for a late summer, Mozart’s comedy … fairly fizzes with life in this concert performance … Yannick Nézet-Séguin’s conducting is buoyant and forward-moving … [Adam Plachetka is an] excellent Guglielmo and Rolando Villazón [a] vibrant, Verdian Ferrando. But the miracles of this opera are the ensembles, and these work brilliantly, underpinned by the crisp playing of the Chamber Orchestra of Europe, culminating in a second-act finale whose pathos, force and passion are truly sensational.” (Nicholas Kenyon, The Observer)

Tracklist:
01. Mozart: Così fan tutte, K.588-Overture
02. Mozart: Così fan tutte, K.588 / Act 1-“La mia Dorabella”
03. Mozart: Così fan tutte, K.588 / Act 1-“Fuor la spada”
04. Mozart: Così fan tutte, K.588 / Act 1-“E la fede delle femminine”
05. Mozart: Così fan tutte, K.588 / Act 1-“Scioccerie di poeti”
06. Mozart: Così fan tutte, K.588 / Act 1-“Una bella serenata”
07. Mozart: Così fan tutte, K.588 / Act 1-“Ah, guarda, sorella”
08. Mozart: Così fan tutte, K.588 / Act 1-“Mi par che stamattina”
09. Mozart: Così fan tutte, K.588 / Act 1-“Vorrei dir, e cor non ho”
10. Mozart: Così fan tutte, K.588 / Act 1-“Stelle! Per carità, signor Alfonso”
11. Mozart: Così fan tutte, K.588 / Act 1-“Sento, oh Dio, che questo piede”
12. Mozart: Così fan tutte, K.588 / Act 1-“Non piangere, idol mio!”
13. Mozart: Così fan tutte, K.588 / Act 1-“Al fato dan legge”
14. Mozart: Così fan tutte, K.588 / Act 1-“La commedia è graziosa”
15. Mozart: Così fan tutte, K.588 / Act 1-“Bella vita militar!”
16. Mozart: Così fan tutte, K.588 / Act 1-“Non vè più tempo, amici”
17. Mozart: Così fan tutte, K.588 / Act 1-“Di scrivermi ogni giorno”
18. Mozart: Così fan tutte, K.588 / Act 1-“Bella vita militar!”
19. Mozart: Così fan tutte, K.588 / Act 1-“Dove son?”
20. Mozart: Così fan tutte, K.588 / Act 1-“Soave sia il vento”
21. Mozart: Così fan tutte, K.588 / Act 1-“Non son cattivo comico”
22. Mozart: Così fan tutte, K.588 / Act 1-“Che vita maledetta”
23. Mozart: Così fan tutte, K.588 / Act 1-“Ah, scostati!”
24. Mozart: Così fan tutte, K.588 / Act 1-“Smanie implacabili”
25. Mozart: Così fan tutte, K.588 / Act 1-“Signora Dorabella”
26. Mozart: Così fan tutte, K.588 / Act 1-“In uomini, in soldati”
27. Mozart: Così fan tutte, K.588 / Act 1-“Che silenzio!”
28. Mozart: Così fan tutte, K.588 / Act 1-“Alla bella Despinetta”
29. Mozart: Così fan tutte, K.588 / Act 1-“Che sussurro! Che strepito!”
30. Mozart: Così fan tutte, K.588 / Act 1-“Come scoglio”
31. Mozart: Così fan tutte, K.588 / Act 1-“Ah, non partite”
32. Mozart: Così fan tutte, K.588 / Act 1-“Non siate ritrosi”
33. Mozart: Così fan tutte, K.588 / Act 1-“E voi ridete?”
34. Mozart: Così fan tutte, K.588 / Act 1-“Si può sapere un poco la cagion di quel riso?”
35. Mozart: Così fan tutte, K.588 / Act 1-“Un’aura amorosa”
36. Mozart: Così fan tutte, K.588 / Act 1-“Oh, la saria da ridere!”
37. Mozart: Così fan tutte, K.588 / Act 1-“Ah, che tutta in un momento”
38. Mozart: Così fan tutte, K.588 / Act 2-“Andate là, che siete due bizzarre ragazze”
39. Mozart: Così fan tutte, K.588 / Act 2-“Una donna a quindici anni”
40. Mozart: Così fan tutte, K.588 / Act 2-“Sorella, cosa dici?”
41. Mozart: Così fan tutte, K.588 / Act 2-“Prenderò quel brunettino”
42. Mozart: Così fan tutte, K.588 / Act 2-“Ah, correte al giardino”
43. Mozart: Così fan tutte, K.588 / Act 2-“Secondate, aurette amiche”
44. Mozart: Così fan tutte, K.588 / Act 2-“Il tutto deponete sopra quei tavolini”
45. Mozart: Così fan tutte, K.588 / Act 2-“La mano a me date”
46. Mozart: Così fan tutte, K.588 / Act 2-“Oh che bella giornata!”
47. Mozart: Così fan tutte, K.588 / Act 2-“Il core vi dono”
48. Mozart: Così fan tutte, K.588 / Act 2-“Barbara! Perché fuggi?”
49. Mozart: Così fan tutte, K.588 / Act 2-“Ei parte… senti… ah no!”
50. Mozart: Così fan tutte, K.588 / Act 2-“Per pietà, ben mio, perdona”
51. Mozart: Così fan tutte, K.588 / Act 2-“Amico, abbiamo vinto!”
52. Mozart: Così fan tutte, K.588 / Act 2-“Donne mie, la fate a tanti”
53. Mozart: Così fan tutte, K.588 / Act 2-“In qual fiero contrasto”
54. Mozart: Così fan tutte, K.588 / Act 2-“Tradito, schernito”
55. Mozart: Così fan tutte, K.588 / Act 2-“Bravo, questa è costanza”
56. Mozart: Così fan tutte, K.588 / Act 2-“Ora vedo che siete”
57. Mozart: Così fan tutte, K.588 / Act 2-“E amore un ladroncello”
58. Mozart: Così fan tutte, K.588 / Act 2-“Come tutto congiura”
59. Mozart: Così fan tutte, K.588 / Act 2-“Fra gli amplessi in pochi istanti”
60. Mozart: Così fan tutte, K.588 / Act 2-“Ah, poveretto me”
61. Mozart: Così fan tutte, K.588 / Act 2-“Tutti accusan le donne”
62. Mozart: Così fan tutte, K.588 / Act 2-“Vittoria, padroncini!”
63. Mozart: Così fan tutte, K.588 / Act 2-“Fate presto, o cari amici”
64. Mozart: Così fan tutte, K.588 / Appendix / Act 1-“Rivolgete a lui lo sguardo”

Personnel:
Miah Persson (Fiordiligi)
Angela Brower (Dorabella)
Adam Plachetka (Guglielmo)
Rolando Villazón (Ferrando)
Mojca Erdmann (Despina)
Alessandro Corbelli (Don Alfonso)
Vocalensemble Rastatt
Chamber Orchestra of Europe
Yannick Nézet-Séguin, conductor

Download:

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Fred Nardin Trio – Opening (2017)
FLAC (tracks) 24 bit/88,2 kHz  | Time – 01:03:01 minutes | 1,17 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © jazz family

Fred Nardin, the winner of the Prix Django Reinhardt 2016 of the French musician of the year, is a composer, musician, performer and an authentic Jazzman. His last album «Opening» features personal compositions and arrangements, was recorded with Leon Parker, a drummer with whom he has been playing for six years, as well as with Or Bareket, a promising bass player from New York. The terific playing of this Trio, their complicity, musicality and creativity make this album a marvel which ought to be on any jazz lover’s shelf and will certainly lead to more successful enjoyable and vibrant albums together. A true sense of swing, groove, bop, with the elegance of the very few.

Tracklist:
01 – The Giant
02 – Parisian Melodies
03 – New Waltz
04 – I Mean You
05 – Don’t Forget The Blues
06 – Hope
07 – Travel To
08 – You’d Be So Nice To Come Home To
09 – Lost In Your Eyes
10 – Green Chimneys

Produced by Fred Nardin.
Recorded on April 10-11, 2017 by Erwan Bouley at Studio de Meudon, France.
Mixed by Erwan Bouley. Mastered by Raphael Jonin.

Musicians:
Fred Nardin – piano
Or Bareket – double bass
Leon Parker – drums

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Damon Albarn – Dr Dee (2012/2014/2016)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 48:09 minutes | 494 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: 7Digital | Front Cover | © Parlophone UK

Damon Albarn is an English musician, singer, songwriter, composer and record producer. He is the lead singer of the British rock band Blur and co-founder, vocalist, instrumentalist, and principal songwriter of the virtual band Gorillaz. “Dr Dee” is a soundtrack for “Dr Dee: An English Opera”. This 18 track work inspired by the life of John Dee (1527-1608), mathematician, alchemist, philosopher and advisor to Elizabeth I. Described by Albarn as “strange pastoral folk,” the music of Dr Dee is a fitting companion to the end of another Elizabethan age. The album combines Albarn’s voice with early English choral and instrumentation alongside modern, West African and Renaissance sounds.

Officially, Dr. Dee is Damon Albarn’s first solo album but that’s the tiniest misnomer. Ever since Graham Coxon left Blur during the recording of Think Tank, Albarn has been the unquestioned director of his projects, his authoritative stamp evident on Think Tank, all three Gorillaz albums, Mali Music, the Good, the Bad & the Queen, and Rocket Juice & the Moon, so Dr. Dee doesn’t exactly have the shock of the new even though it’s certainly willfully odd. An opera – not a rock opera, or the first opera Albarn has written, as he has 2007’s Monkey: Journey to the West under his belt – Dr. Dee concerns itself with the story of John Dee, the 16th century mathematician and occultist who was an advisor to Elizabeth I and is said to be the inspiration for Marlowe’s Faustus and Shakespeare’s Prospero. Rich material for an opera, in other words, and Dr. Dee is certainly thick with ideas, Albarn not running away from his signature tropes so much as using them as a launching pad for a stately, lugubrious collection of minor-key instrumentals, skeletal pop songs, plainsongs, and madrigals. Much of this is intriguing, yet as an album if not a production, Dr. Dee stays just this side of compelling, always threatening to veer into surprising, dangerous territory yet never quite succumbing to the risk. And that is where Dr. Dee’s roots in the stage show: perhaps it is a bit stuffy and hidebound for art rock, but taken as a theatrical production, it’s adventurously cerebral, an album to ponder if not quite embrace.

Tracklist:
01 – The Golden Dawn
02 – Apple Carts
03 – O Spirit, Animate Us
04 – The Moon Exalted
05 – A Man of England
06 – Saturn
07 – Coronation
08 – The Marvelous Dream
09 – A Prayer
10 – Edward Kelley
11 – Preparation
12 – 9 Point Star
13 – Temptation Comes in the Afternoon
14 – Watching the Fire That Waltzed Away
15 – Moon (Interlude)
16 – Cathedrals
17 – Tree of Beauty
18 – The Dancing King

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Diana Krall – Love Scenes (1997/2014)
FLAC (tracks) 24 bit/96 kHz  | Time – 54:55 minutes | 1,07 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Universal Music

The fourth studio album from beloved jazz vocalist Diana Krall features a mix of timeless jazz classics played with a reverence for the classic age of swing songs. The album includes the hits Peel Me A Grape and They Can’t Take That Away From Me, as well as gems written by songwriters such as Irving Berlin, Percy Mayfield, Bing Crosby and Peggy Lee.

Vocalist/pianist Diana Krall was a very hot property by the time this Impulse CD was released. Teamed in a trio with her regular guitarist Russell Malone and bassist Christian McBride, Krall here mostly emphasizes ballads having something to do with love. She is at her best on “I Don’t Know Enough About You,” “I Don’t Stand a Ghost of a Chance With You,” and “How Deep Is the Ocean.” However, Krall’s earlier Nat King Cole tribute had more variety in tempos and moods and is recommended first. A decent but not essential release.

Tracklist:
01 – All Or Nothing At All
02 – Peel Me A Grape
03 – I Don’t Know Enough About You
04 – I Miss You So
05 – They Can’t Take That Away From Me
06 – Lost Mind
07 – I Don’t Stand A Ghost Of A Chance With You
08 – You’re Getting To Be A Habit With Me
09 – Gentle Rain
10 – How Deep Is The Ocean (How High Is The Sky)
11 – My Love Is
12 – Garden In The Rain

Produced by Tommy LiPuma. Recorded and Mixed by Al Schmitt.
Recorded at Avatar Studios, New York. Mixed at Schnee Studio, North Hollywood, CA.

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Diana Krall – The Girl In The Other Room (2004/2013)
FLAC (tracks) 24 bit/96 kHz  | Time – 55:21 minutes | 1,16 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Verve

“The Girl In The Other Room” is the seventh studio album by Canadian jazz star Diana Krall. Featuring songs co-written with Elvis Costello as well as covers of songs by Tom Waits and Joni Mitchell, the album ranked number 7 on Billboards’s Top Jazz Albums of the Decade.

While the jazz fascists (read: purists) may be screaming “sellout” because Diana Krall decided to record something other than standards this time out, the rest of us can enjoy the considerable fruit of her labors. The Girl in the Other Room is, without question, a jazz record in the same manner her other outings are. The fact that it isn’t made up of musty and dusty “classics” may irk the narrow-minded and reactionary, but it doesn’t change the fact that this bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs. Produced by Tommy LiPuma and Krall, the non-original material ranges from the Mississippi-fueled jazzed-up blues of Mose Allison’s “Stop This World” to contemporary songs that are reinvented in Krall’s image by Tom Waits (“Temptation”), Joni Mitchell (“Black Crow”), Chris Smither (“Love Me Like a Man”), and her husband, Elvis Costello (“Almost Blue”). These covers are striking. Krall’s read of Allison’s tune rivals his and adds an entirely different shade of meaning, as does her swinging, jazzy, R&B-infused take on Smither’s sexy nugget via its first hitmaker, Bonnie Raitt. Her interpretation of Waits’ “Temptation” is far more sultry than Holly Cole’s because Krall understands this pop song to be a jazz tune rather than a jazzy pop song. “Black Crow” exists in its own space in the terrain of the album, because Krall understands that jazz is not mere articulation but interpretation. Likewise, her reverent version of Costello’s “Almost Blue” takes it out of its original countrypolitan setting and brings it back to the blues. As wonderful as these songs are, however, they serve a utilitarian purpose; they act as bridges to the startling, emotionally charged poetics in the material Krall has composed with Costello. Totaling half the album, this material is full of grief, darkness, and a tentative re-emergence from the shadows. It begins in the noir-ish melancholy of the title track, kissed with bittersweet agony by Gershwin’s “Summertime.” The grain in Krall’s pained voice relates an edgy third-person tale that is harrowing in its lack of revelation and in the way it confounds the listener; it features John Clayton on bass and Jeff Hamilton on drums. In “I’ve Changed My Address,” Krall evokes the voices of ghosts such as Louis Armstrong and Anita O’Day in a sturdy hip vernacular that channels the early beat jazz of Waits and Allison. The lyric is solid and wonderfully evocative not only of time and place, but of emotional terrain. Krall’s solo in the tune is stunning. “Narrow Daylight,” graced by gospel overtones, is a tentative step into hope with its opening line: “Narrow daylight enters the room, winter is over, summer is near.” This glimmer of hope is short-lived, however, as “Abandoned Masquerade” reveals the shattered promise in the aftermath of dying love. “I’m Coming Through” and “Departure Bay,” which close the set, are both underscored by the grief experienced at the loss of Krall’s mother. They are far from sentimental, nor are they sophomoric, but through the eloquence of Krall’s wonderfully sophisticated melodic architecture and rhythmic parlance they express the experience of longing, of death, and of acceptance. The former features a beautiful solo by guitarist Anthony Wilson and the latter, in its starkness, offers memory as reflection and instruction. This is a bold new direction by an artist who expresses great willingness to get dirt on her hands and to offer its traces and smudges as part and parcel of her own part in extending the jazz tradition, through confessional language and a wonderfully inventive application that is caressed by, not saturated in, elegant pop. ~ Thom Jurek

Tracklist:
01 – Stop This World
02 – The Girl In The Other Room
03 – Temptation
04 – Almost Blue
05 – I’ve Changed My Address
06 – Love Me Like A Man
07 – I’m Pulling Through
08 – Black Crow
09 – Narrow Daylight
10 – Abandoned Masquerade
11 – I’m Coming Through
12 – Departure Bay

Produced by Tommy LiPuma and Diana Krall.
Recorded by Al Schmitt at Capitol Studios, Hollywood and Avatar Studios, New York.
Mixed by Al Schmitt at Capitol Studios, Hollywood. Mastered by Doug Sax and Robert Hadley at The Mastering Lab, Los Angeles.

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Django Django – Late Night Tales: Django Django (2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 02:46:00 minutes | 1,72 GB | Genre: Electronic
Studio Master, Official Digital Download – Source: Bandcamp | Booklet, Front Cover | © Late Night Tales

“Late Night Tales: Django Django” is a mix album compiled by British art-rock band Django Django, released in 2014 as part of the Late Night Tales series. The mix includes tracks from artists such as The Beach Boys, Primal Scream, Outkast, Massive Attack and Philip Glass. It also features an exclusive Django Django cover version of The Monkees’ “Porpoise Song”.

Since its launch in 2001 (under its original name Another Late Night), U.K. compilation series Late Night Tales has served up an intriguing array of excellent records curated by artists like Four Tet, the Flaming Lips, and Air. By allowing musicians to become tastemakers, the Late Night collections tend to take a lot of surprising twists and turns as the artists reveal many of their personal influences. Getting their turn at the decks are London-based indie quartet Django Django. Listening to their Mercury Prize-nominated 2012 debut album, it’s apparent they came to their unique folktronica sound via extensive record collections of their own. The inclusion of tracks like the Millennium’s “To Claudia on Thursday” and the Beach Boys’ classic “Surf’s Up” mirror Django’s own affection for artfully arranged pop with richly layered harmonies. Experimental electronic fare like TNGHT’s “Bugg’n” or Roy Davis, Jr.’s house classic “Gabrielle” also each reflect a part of the band’s aesthetic. The inclusion of outliers like Leo Kottke and Philip Glass also add a glimpse of where they’re coming from, as does the slightly progressive “Sweet Green Fields” from ’70s soft rockers Seals & Crofts. Following the Late Night Tales format, Django Django also get to record a cover song of their own and they’ve whipped up a truly magical rendition of the Monkees’ Head theme “Porpoise Song.” As with the previous several Late Night releases, this one also concludes with actor Benedict Cumberbatch reading from the Simon Cleary poem “Flat of Angles.” ~ Timothy Monger

Tracklist:
01. Leo Kottke – The Tennessee Toad
02. Gulp – Game Love
03. Bob James – Nautilus
04. James Last – Inner City Blues (Make Me Wanna Holler)
05. Map Of Africa – Bone
06. Seals & Crofts – Sweet Green Fields
07. Philip Glass / Philip Glass Ensemble – Django Django #07] Floe
08. The Millennium – To Claudia On Thursday
09. The Beach Boys – Surf’s Up
10. Primal Scream – Carry Me Home
11. Massive Attack – Man Next Door
12. TNGHT – Bugg’n
13. Outkast – Slum Beautiful
14. Timmy Thomas – Why Can’t We Live Together
15. Roy Davis Jr. featuring Peven Everett – Gabriel (Live Garage Mix)
16. Harry Nilsson – Coconut
17. Canned Heat – Poor Moon
18. Ramadanman – Bass Drums
19. Rick Miller – Future Directions
20. Django Django – Porpoise Song
21. Benedict Cumberbatch – Flat Of Angles, Pt. 4
22. Django Django – Late Night Tales Continuous Mix

Compiled & Produced by Dave MacLean.

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Don Broco – Automatic {Deluxe Edition} (2015)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 48:32 minutes | 605 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Search and Destroy Records

2015 release, the sophomore album from UK Rock outfit Don Broco. “Automatic” is the long-awaited follow-up to their much loved debut album “Priorities” (2012). Includes the singles “Automatic” and “Superlove”. The album was included at number 13 on Rock Sound’s top 50 releases of 2015 list. Deluxe edition includes four bonus tracks.

Bedford’s finest breached the Top 30 with their 2012 debut’s blend of alt.rock and shiny pop – Busted crossed with Biffy Clyro and the Red Hot Chili Peppers. Three years on, this second album is audibly designed to broaden their appeal. Presumably with an eye on the 1975’s success, they’ve ditched the heavier riffola for a new sound that feeds 80s pop through a radio-friendly filter, emerging as a machine-polished blend of Duran Duran and Level 42. It’s aspirational, thrusting stuff. “Determination! Have I got what it takes?” asks Rob Damiani, expecting an affirmative. And if not? “Keep on, keep on pushing!” If anything, the album tries too hard. There are lots of “ooh ooh ooh”s, moodily chugging guitars and keyboard motifs that could have soundtracked Miami Vice circa 1985. Automatic and Let You Get Away are naggingly catchy, but soulless, and if Don Broco’s original fans edge nervously away, Automatic will presumably make or break them.

Tracklist:
01 – Superlove
02 – Automatic
03 – What You Do to Me
04 – Fire
05 – Nerve
06 – Let You Get Away
07 – I Got Sick
08 – Keep On Pushing
09 – Tough On You
10 – Further
11 – Money Power Fame [Bonus Track]12 – Bad Feeling [Bonus Track]13 – Wrong Place Wrong Time [Bonus Track]14 – You Wanna Know [Bonus Track]

Produced by Jason Perry.

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Donald Fagen – Kamakiriad (1993/2012)
FLAC (tracks) 24 bit/96 kHz  | Time – 50:24 minutes | 0,98 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Reprise

Donald Fagen was one of the two masterminds behind Steely Dan, the seminal jazz-pop band of the ’70s. Fagen’s solo work has been a continuation of the band’s work of the early ’80s — carefully constructed and arranged, intricately detailed pop songs that are more substantial than their stylish surface may indicate. His 1982 solo debut, “The Nightfly”, was the best album he had made in years; it covered the same ground as the last two Steely Dan albums, yet surpassed it in terms of ambition and achievement. Originally produced by Steely Dan’s co-founding member, Walter Becker, Donald Fagen’s “Kamakiriad” is a brilliantly executed futuristic retro concept album which spins a unique Sci-Fi outlook on the world. The eight-song cycle re-creates a retro-futuristic world in which Fagen’s ’50s nostalgia meets high-tech millennialism. If you loved the studio-intensive blues-rock, tantalizing, crisp white funk grooves that made Steely Dan, and Fagen’s first solo album so compelling, “Kamakiriad” will keep your pulse racing.

Donald Fagen’s second solo album is a song cycle of sorts, following the adventures of an imaginary protagonist as he travels the world in his car, a brand-new Kamakiri. It is an odd concept, and one that is not obvious to the listener, but reflection upon Fagen’s liner notes while listening to the album does tend to evoke a vision of a non-apocalyptic near future, where swingers sip cocktails and fresh vegetable juices as they groove to synthesized jazz-rock. Evocative or not, this is not Fagen’s best effort. The songs on Kamakiriad are mainly static one-chord vamps, with little of the interesting off-beat hits or chord changes that characterized most of Steely Dan’s corpus (although, it must be said, Two Against Nature isn’t too far conceptually from what Fagen is doing here). There is a slightly antiseptic feeling to Kamakiriad. Although the drum tracks are not synthesized, they sure sound that way, and even the horns sound electronic at times, a far cry from the lush arrangements of Aja. Another shortcoming of this record is the fact that the verse melodies don’t sound very developed. The choruses are as catchy and cryptic as you would expect from Donald Fagen, but the verses are less than memorable. Walter Becker, who produced the record, as well as contributing bass and guitar, also co-wrote “Snowbound.” Perhaps not surprisingly, it does the best job at evoking classic Steely Dan. Kamakiriad is pleasant as background music, but in the end it doesn’t provide enough interesting moments to rank as a must-have. The static grooves, coupled with the long song lengths, and general lack of dynamic movement makes this record one of the least essential of Fagen’s recorded output. However, Steely Dan completists will certainly find enough here to keep them happy.

Tracklist:
01 – Trans-Island Skyway
02 – Countermoon
03 – Springtime
04 – Snowbound
05 – Tomorrow’s Girls
06 – Florida Room
07 – On The Dunes
08 – Teahouse On The Tracks

Produced by Walter Becker.
Recorded & Mixed at River Sound New York.
Additional recording at Hyperbolic Sound, Hawaii; Clinton Recording and The Hit Factory, New York.
Mastered at Masterfonics, Nashville.

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Dorsey Burnette – The Complete Motown Recordings 1964-1965 (2014)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:09:13 minutes | 1,09 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Motown

Rockabilly singer Dorsey Burnette was part of Motown Records short-lived foray into country music on their spin-off label Mel-o-dy Records and this package includes the 28 tracks he recorded in 1964 and 1965. Burnette’s biggest hit from this era, Jimmy Brown, was even released in the UK under the Tamla Motown imprint, a rarity at the time.

Dorsey Burnette first found fame as a member of the pioneering rockabilly group Johnny Burnette & the Rock ‘n’ Roll Trio, and after the combo split up, Dorsey went on to a long career as a journeyman pop and country singer, as well as a more successful sideline as a songwriter. In 1964, after Dorsey had failed to score hits at Dot, Imperial, Reprise, and a handful of other labels, he found new sponsors in an unlikely place. Motown Records, the wildly successful soul and R&B label, was launching a new subsidiary, Mel-O-Dy Records, that would focus on country-influenced sounds, and they signed Dorsey to a record deal. Between April 1964 and August 1965, Burnette recorded 28 songs for Mel-O-Dy, some in California and others at Motown’s famous Hitsville USA studio in Detroit. Sadly, most of Dorsey’s sessions for Mel-O-Dy went unreleased and none of them produced a hit, but The Complete Motown Recordings includes all the sides Burnette cut during his 16-month tenure with Motown and Mel-O-Dy. Ranging from country and refined rockabilly to pop with a soulful undertow, The Complete Motown Recordings finally allows Dorsey Burnette’s fans to explore a fascinating lost chapter in his discography.

Tracklist:
01 – Little Acorn
02 – Cold As Usual
03 – Jimmy Brown
04 – Everybody’s Angel
05 – Ever Since The World Began
06 – Long Long Time Ago
07 – Magic Of Love
08 – One Mornin’
09 – It Could’ve Been Different
10 – My Refugee
11 – Green Side Of The Mountain
12 – Little By Little
13 – Go Between
14 – Light The Fuse
15 – Gotta Travel On
16 – Alligator Davey
17 – Don’t Believe
18 – Bluer Than Blue
19 – Buckeye Road
20 – Lonely Room 21
21 – Lipstick, Tickle Toes, Huggy Bear, Kissy Face Baby
22 – Conscience I’m Guilty
23 – Love Me Forever
24 – There Comes A Time (Baby I Didn’t)
25 – I Know, I Know
26 – Honey Come Back
27 – Why Break My Heart (Just To Run Around)
28 – They’re Only Words

Digitally Remastered.

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Dottie West – With All My Heart And Soul (1967/2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 34:09 minutes | 762 MB | Genre: Country
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © RCA – Legacy

Dottie West (born Dorothy Marie Marsh) was an American country music singer and songwriter. Along with her friends and fellow recording artists Patsy Cline and Loretta Lynn, she is considered one of the genre’s most influential and groundbreaking female artists. “With All My Heart and Soul” was one of Dottie West’s best-selling albums.

The album was produced by Chet Atkins, along with a string of other albums West recorded for RCA Victor in the 1960s. The album spawned the No. 8 Country smash “Paper Mansions”, one of the few Top 10 hits West had in the 1960s. The album spawned no other singles, however, but it did include some cover versions of Country hits. This included Jeannie Seely’s 1966 hit “Don’t Touch Me”, David Houston’s 1967 hit “Almost Persuaded”, and Eddy Arnold’s “The Tip of My Fingers”. The album was one of two albums released in 1967 and reached No. 8 on the “Top Country Albums” chart that year.

Tracklist:
01 – Paper Mansions
02 – Don’t Touch Me
03 – No One to Cry To
04 – A Way to Survive
05 – Don’t Keep Me Lonely Too
06 – Loving On Borrowed Time
07 – Almost Persuaded
08 – The Tip of My Fingers
09 – With All My Heart and Soul
10 – It’s Teardrop Time
11 – Someone’s Gotta Cry
12 – How Many Lifetimes Will It Take

The Vocal accompaniment by The Jordanaires.
Recorded in July 1966 at RCA Victor Studios, Nashville, TN.

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Duff Ferguson – My Story Is The Same (2017)
FLAC (tracks) 24-bit/48 kHz | Time – 29:38 minutes | 340 MB | Genre: Folk
Studio Master Re-encoded – Source “24-96” files | Artwork: Front cover | © Single Recordings

Folk-pop crooner Duff Ferguson is a familiar face around the Los Angeles roots rock scene, having rode in crap tour vans, recorded alongside, jammed with, photographed, danced with the wives of and bought PBRs for most everybody in 20 years of California music. His new record made at 663 Sound by Ted Wulfers and Sun Studio by Todd Herfindal. Solo guitar and vox, no overdubs, no bs. Herf recordings made entirely on solar power!

Tracklist:
01 – High Then Clean
02 – When You Found Me
03 – Faces of You
04 – Keep Your Mystery
05 – You’re Here
06 – Away
07 – Lost Boy
08 – Miss You
09 – I Know You Been Roamin’

Please note: Here’s carefully processed to 24/48 files. Dynamic Range & peak level keep the same.
Qobuz store sold this album without notes. HDTracks offer this album with a note > “Recorded in 48kHz, encoded to 96kHz”

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Arcangelo & Jonathan Cohen – Bach: Magnificats (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 01:16:37 minutes | 1,45 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records | Booklet, Front Cover | © Hyperion Records

No fewer than three Bachs—father and two sons—and three wonderful versions of the Magnificat written over the course of the eighteenth century: one setting very familiar, the other two much less so.

‘Grand authority and lithe ebullience, sweeping effortlessly from verse to verse with considerable purpose … an illuminated Bachian constellation of three canticles colliding in captivating relief’ (Gramophone)

‘If you needed an aural demonstration of how the musical tectonic plates were shifting in the years spanning JS Bach’s arrival in Leipzig and the emergence of the young Mozart you would be hard pressed to find a more illuminating disc than this latest offering from Arcangelo … Cohen plays the theatricality of the JC Bach to the hilt, while acknowledging the homage to JS in the opening of CPE’s setting’ (BBC Music Magazine)

Tracklist:
01. Magnificat, BWV 243: I. Chorus: Magnificat anima mea (02:54)
02. Magnificat, BWV 243: II. Aria: Et exsultavit spiritus meus (02:13)
03. Magnificat, BWV 243: III. Aria & Chorus: Quia respexit – Omnes generationes (03:41)
04. Magnificat, BWV 243: IV. Aria: Quia fecit mihi magna (01:51)
05. Magnificat, BWV 243: V. Duet: Et misericoridia (03:08)
06. Magnificat, BWV 243: VI. Chorus: Fecit potentiam (01:42)
07. Magnificat, BWV 243: VII. Aria: Deposuit potentes de sede (01:56)
08. Magnificat, BWV 243: VIII. Aria: Esurientes implevit bonis (02:44)
09. Magnificat, BWV 243: IX. Terzet: Suscepit Israel (01:55)
10. Magnificat, BWV 243: X. Chorus: Sicut locutus est (01:28)
11. Magnificat, BWV 243: XI. Chorus: Gloria Patri (02:04)
12. Magnificat, E22: I. Chorus with solo: Magnificat anima mea (03:13)
13. Magnificat, E22: II. Chorus: Et misericordia eius (01:02)
14. Magnificat, E22: III. Chorus with soli: Fecit potentiam (03:15)
15. Magnificat, E22: IV. Chorus: Gloria Patri (01:23)
16. Magnificat, E22: V. Chorus: Et in saecula saeculorum (01:33)
17. Magnificat, H. 772: I. Chorus: Magnificat anima mea (03:13)
18. Magnificat, H. 772: II. Aria: Quia respexit (05:41)
19. Magnificat, H. 772: III. Aria: Quia fecit mihi magna (03:54)
20. Magnificat, H. 772: IV. Chorus with soli: Et misericordia eius (06:45)
21. Magnificat, H. 772: V. Aria: Fecit potentiam (03:51)
22. Magnificat, H. 772: VI. Duet: Deposuit potentes de sede (05:52)
23. Magnificat, H. 772: VII. Aria: Suscepit Israel (04:07)
24. Magnificat, H. 772: VIII. Chorus: Gloria Patri (02:02)
25. Magnificat, H. 772: IX. Chorus: Sicut erat in principio (05:10)

Composers:
Bach, Carl Philipp Emanuel (1714-88)
Bach, Johann Christian (1735-82)
Bach, Johann Sebastian (1685-1750)

Personnel:
Arcangelo
Jonathan Cohen (conductor)

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Beach Fossils – Somersault (2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 34:58 minutes | 401 MB | Genre: Indie Rock, Lo-Fi
Studio Master, Official Digital Download | Front Cover | © Bayonet Records

On their 2013 album, Beach Fossils’ main man Dustin Payseur successfully expanded his reverb-fed bedroom pop sound by including the contributions of his bandmate, guitarist Tommy Davidson, in the studio. After a long break, Beach Fossils’ 2017 album, Somersault, includes not only the studio presence of Davidson again, but bassist Jack Smith too. The pair also took on a more collaborative role in the songwriting process. And if that weren’t enough change, the trio brought in string sections, keyboards, flutes, Slowdive’s Rachel Goswell, and rapper Cities Aviv (briefly) to help give their once claustrophobic pop sound a widescreen makeover. At their core, the songs still have all the melancholy gloom that Payseur brought to his earliest work; they also have the subtle hooks and still exude a calm warmth that makes Beach Fossils records very easy to cozy up with. This time, though, Beach Fossils take much more care with the arrangements, whether adding strings or harpsichord, adding dynamic shifts, or basically sounding like they spent some of their break studying Bacharach, or at least some Spoon. Where once their songs and records kind of rolled by in an unbroken wave of sound and bummer feels, now there is a lot more to grab onto sonically. Lots of bands try making more sophisticated music like this and end up falling on their faces because they either get to stuffy or too tricky. Beach Fossils play it just right. Their previous records were really good examples of 2010s indie pop, and the band could have just kept cranking them out for the foreseeable future and it would have been fine. Somersault blows past them and puts the band on a new, higher level thanks to the high quotient of instantly memorable songs, the deep feelings conjured up by the melodies and the music, and the very impressively sculpted sound. Anyone who thought maybe the band’s moment had passed will be pleasantly surprised to hear that Beach Fossils are back and better than ever. ~ Tim Sendra

Tracklist:
01. This Year
02. Tangerine (feat. Rachel Goswell)
03. Saint Ivy
04. May 1st
05. Rise (feat. Cities Aviv)
06. Sugar
07. Closer Everywhere
08. Social Jetlag
09. Down The Line
10. Be Nothing
11. That’s All For Now

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