Studio Masters – HDMusic.me

“Presidential Suite: Eight Variations on Freedom” is the two time Grammy Award-winning album from composer Ted Nash and his Big Band. Featuring recordings of great speeches from leaders such as Aung San Suu Kyi, Nelson Mandela, and John F. Kennedy, as read by contemporary figures such as Glenn Close and Douglas Brinkley, each of the movements in Nash’s composition respond to the themes and musical features of each speech, producing a creative and inspiring reflection on the idea of freedom.

On this unprecedented historic release, Grammy-nominated composer/saxophonist/ conceptualist Ted Nash transforms key moments from 20th century speeches on freedom into a lushly orchestrated suite of modern jazz. Nash transcribed the speeches for their actual musical pitches and created themes, placing them into contexts that embraced the speakers and the location and era of the speeches. For the recording, each track is introduced by an excerpt from the speech that inspired it, read by significant figures from the world of entertainment, politics and sports, including actors Glenn Close and Sam Waterston; civil rights pioneer Andrew Young; Senator Joe Lieberman; authors Deepak Chopra and Douglas Brinkley; diplomats William vanden Heuvel and David Miliband.

Tracklist:
01 – Overture
02 – Joe Lieberman reads John F. Kennedy
03 – Ask Not (John F. Kennedy)
04 – Deepak Chopra reads Jawaharlal Nehru
05 – Spoken at Midnight (Jawaharlal Nehru)
06 – William Vanden Heuvel reads Franklin D. Roosevelt
07 – The Four Freedoms (Franklin D. Roosevelt)
08 – Douglas Brinkley reads Ronald Reagan
09 – Tear Down This Wall (Ronald Reagan)
10 – David Miliband reads Winston Churchill
11 – This Deliverance (Winston Churchill)
12 – Glenn Close reads Aung San Suu Kyi
13 – Water in Cupped Hands (Aung San Suu Kyi)
14 – Sam Waterston reads Lyndon B. Johnson
15 – The American Promise (Lyndon B. Johnson)
16 – Andrew Young reads Nelson Mandela
17 – The Time for The Healing of the Wounds (Nelson Mandela)

Produced by Robert Allen, Douglas Brinkley, Michael Fricklas, Herschel Garfein, Adam Inselbuch, Scott Jacobson, Alexander Walser.
Engineered & Mixed by Rob Macomber. Mastered by Doug Schwartz.

Download:

https://subyshare.com/79ayev9873wk/TedNashPresidentialSuite.EightVariati0ns0nFreed0m2016Q0buz24441.rar.html

“Chrome Neon Jesus” is the Teenage Wrist’s debut album. Signed to Epitaph Records last fall, the L.A.-based garage-rock trio molds elements of shoegaze, punk, and alt-rock into a timeless yet modern-edged sound. Recorded with Grammy Award-winning producer/engineer Carlos De La Garza (Paramore, Jimmy Eat World), Chrome Neon Jesus combines dreamy vocals with distorted guitars and massive dynamics. Throughout the album, bassist/vocalist Kamtin Mohager, guitarist/vocalist Marshall Gallagher, and drummer Anthony Salazar explore emotional terrain that Gallagher describes as “realizing the world is bigger, brighter and more terrifying then you ever imagined”.

Teenage Wrist combine grunge and shoegaze, recalling the overlap the two genres enjoyed back in their heyday, except this time out it’s filtered through the three decades of rock music that came after. Their debut album has the most in common with acts such as Swervedriver, but overall, it would have been at home if it was released in the 2000s; its cleaner production and often on-the-nose lyrics borrow heavily from the alt-rock and emo acts that dominated guitar music at the time. In a word, it’s derivative, almost to the point of homage; it picks from so many bands that it can only amount to the sum of its influences. The band make up for some of the derivation with sheer enthusiasm, going all-out on tracks such as “Dweeb” and “Swallow,.” but they shine brightest when they lean into their shoegaze influences, with album highlights including the cooing “Stoned, Alone” and the My Bloody Valentine-indebted “Kibo.” Perhaps it’s because the alt-rock/emo approach is a bit dated that “Supermachine” feels like the least relevant thing here, bordering on cringeworthy at times. The salient point is that fans of their later influences will likely acclimate to the gauzy, Wall of Sound side of the band, but given the nature of shoegaze purists, it’s hard to imagine a show of leniency toward any hint of pop punk. Still, there’s an audience out there that Teenage Wrist will appease, and if anything, they can be proud of creating another niche inside of a genre known for its niches.

Tracklist:
01 – Chrome Neon Jesus
02 – Dweeb
03 – Swallow
04 – Stoned, Alone
05 – Supermachine
06 – Black Flamingo
07 – Kibo
08 – Rollerblades
09 – Daylight
10 – Spit
11 – Waitress

Download:

https://subyshare.com/uul40n772u92/TeenageWristChr0meNe0nJesus2018Q0buz24441.rar.html

The Television Personalities were an English post-punk band formed in 1978. Here’s a lost album from post-punk greats band is getting a wide release. “Beautiful Despair” was recorded on 4-track by Dan Treacy and Jowe Head in 1990 (between the recordings of their albums “Closer to God” and “Privilege”), at Head’s London flat.

The Pelevision Personalities unreleased album. Recorded in 1990 by Jowe at his flat in Glading Terrace, Stoke Newington (shortly before it was demolished), over a number sessions on a portable 4-track cassette-tape machine. “Over the course of a few weeks, we had amassed fifteen tracks, some of which ended up being re-recorded with very different arrangements on Closer to God. The intention was to finish and release these tracks at some point, and that time has finally arrived” Jowe Head. Of the previously unheard songs, I Like That in a Girl was based on a conversation Daniel Treacy had with Lawrence of the Birmingham band Felt, hence the peculiar accent that Dan uses towards the end! Love is a Four-Letter Word was a song the band would play regularly live; it eventually evolved into Love is Better Than War. I Suppose You Think It’s Funny displays Jowe and Daniels double-falsetto skills. If You Fly Too High was based on an encounter with Evan Dando of The Lemonheads in Berlin during a memorable gig with them at the Ecstasy Madhouse in December 1989, when the Berlin Wall was being torn down. The band jammed with Evan on stage that night, playing some tunes by Jonathan Richman and Johnny Thunders. The song also mentions Alan McGee, who was a great fan of the TVPS. Alan openly admits that he emulated Dan’s style of music, and influenced his decision to run a mod-psychedelic club, The Living Room, and to start his label, Creation.

Tracklist:
01 – Hard Luck Story Number 39
02 – Razor Blades & Lemonade
03 – How Does It Feel To Be Loved
04 – Love Is A Four Letter Word
05 – Beautiful Despair
06 – If You Fly Too High
07 – Have A Nice Da
08 – I Get Frightened Too
09 – Goodnight Mr Spaceman
10 – Honey For The Bears
11 – I Don’t Want To Live This Life
12 – I Like That In A Girl
13 – My Very First Nervous Breakdown
14 – I Suppose You Think It’s Funny
15 – This Heart’s Not Made Of Stone

Transferred to digital format at Sonic Bunker by Jowe and Rob McClymont.

Please note: Track “9-11,13,15” presented in 16-bit/44kHz.

Download:

https://subyshare.com/nro2neygg7p5/Televisi0nPers0nalitiesBeautifulDespair2018Bandcamp24441.rar.html

“Love in the 4th Dimension” is the debut studio album by British indie rock gals band The Big Moon. The album was recorded at Eastcote Studios in London with producer Catherine Marks. The album was recorded across 12 days so the band could go with their first instincts musically. Includes 4 bonus tracks which are not included on the vinyl version.

Following the 2016 EP The Road, Love in the 4th Dimension is the debut full-length effort from London-based indie pop four piece the Big Moon. Composed of jangly, overdriven guitar riffs, huge passionate choruses, and lyrics that paint a magnetic picture, the album was recorded over 12 days with producer, Catherine Marks (the Killers, Wolf Alice). Featuring the singles “Cupid,” “Silent Movie Susie,” “Formidable,” and “Sucker,” the record was released by Fiction Records. ~ Rob Wacey

Tracklist:
01 – Sucker
02 – Pull The Other One
03 – Cupid
04 – Formidable
05 – Bonfire
06 – The Road
07 – Happy New Year
08 – Silent Movie Susie
09 – Love In The 4th Dimension
10 – Zeds
11 – The End
12 – Hold This (Bonus Track)
13 – The Undead (Bonus Track)
14 – Eureka Moment (Bonus Track)
15 – Something Beautiful (Bonus Track)

Produced by Catherine Marks.

Musicians:
Juliette Jackson – vocals, guitar
Soph Nathann – guitar, vocals
Celia Archer – bass, vocals
Fern Ford – drums

Download:

https://subyshare.com/ir64zy24pu6z/TheBigM00nL0veInThe4thDimensi0n2017Q0buz2496.part1.rar.html
https://subyshare.com/suyyz2uvghv9/TheBigM00nL0veInThe4thDimensi0n2017Q0buz2496.part2.rar.html

Internal feuds and heroin in the crook of the arm of her twin didn’t rattle the more relaxed female rocker: Kim Deal. Nirvana with boobs and with ballsy grunge, the Breeders kindled the indie rock scene by reminding people that even if there wasn’t anyone to welcome them, there was a feminine scene. Imploding in 1993 after the aptly named Last Splash, the quartet saw Kim go back to the Pixies when Kelley went into rehab. Two other albums, Title TK in 2002 and Mountain Battles in 2008, reminded us that the beast could still move… Since a concert in 2013 brought back the hope of a reunion, the two sisters, the bass player Josephine Wiggs and the drummer Jim MacPherson went back to the studio for All Nerve. Grunge entanglement resuscitating from the rough nineties, this lightning opus (33 minutes) blasts a tried and tested formula. If the dirty guitar-bass-drums and vocal distortions recipe doesn’t cause theCannonball effect that made their success, All Nerve carries the mark of the painful decades that followed. As proof, the distorted ballads Space Woman, Dawn: Making An Effort, Blues At The Acropolis. It is dark and nervous.

Tracklist:
01 – Nervous Mary
02 – Wait in the Car
03 – All Nerve
04 – MetaGoth
05 – Spacewoman
06 – Walking with a Killer
07 – Howl at the Summit
08 – Archangel’s Thunderbird
09 – Dawn Making an Effort
10 – Skinhead #2
11 – Blues at the Acropolis

Musicians:
Kim Deal – vocals, guitar
Kelley Deal – guitar, vocals
Josephine Wiggs – bass
Jim MacPherson – drums

Download:

https://subyshare.com/zdmmm85kipvs/TheBreedersAllNerve2018Q0buz2496.rar.html

The Cherry Wave is a Glasgow, Scotland band that steeps itself in dense, fuzzy walls of sound with almost post-punk vocal stylings. Their songs are brisk and soaring, dabbling in nearly anthem-like territory. The band formed in 2012 and consists of Adam (drums), Bobby (bass), Paul (guitar, vocals), and Ryan (guitar). “Shimaru” is their second full-length album.

Shimaru kicks off with “Dream Forever”. The drums instantly burst into the speakers, naked and alone. Then the swirling walls of sound rushes forward, huge and spacey. Paul’s vocals sit deep into the mix but are primal and have a post-punk flavor. There are moments where the guitars turn bright and verge on the edge of melodic but that never lasts long as the energy always takes them over the edge into controlled pandemonium. Bobby’s bass tone also has that edginess to it, with a reverb tinge. “Hitch a Glide” slows the tempo down slightly with distorted guitars pumping in time. High-end guitar riffs slide around in the avalanche of guitar walls. Paul’s vocals sore and the melody has a catchy hook. This is the band at its post-punk best right here. “Placid Blue” slows things down beginning with a guitar being picked and Paul talking. This leads to a slow tempo piece with slightly crunchy edges and a melodic punk feel in the chorus. The bridge is dreamy, with fuzzy bass and bright guitars. “Softwater” instantly turns up the speed with racing guitars, feedback loops, and galloping drums and bass. The noise belt in the song envelop the listener and are unrelenting. Paul sings under the weight of the torrent while adding to it at the same time. “Michinoku Overdriver” is another song that feels like a fist-pumping anthem. The drums and bass just drive the track forward and the vocals are soaring and, at times, charismatic. The guitar work here is subtle and not as huge. It has a more rock feel throughout. “Young Young” has high-hat driven drums and the larger than life guitars return but they are not as amorphous here as they are on other tracks. Rather than play through the drums and bass, they accent them, almost following their lead. The guitars go into hypnotic mode as they swirl in mesmerizing patterns. A quieter section appears in the composition and then the wall of guitars explodes in gritty splendor. “Young Young” transitions into “Get Wide” without a break. It plays off the same feel a bit but has a more melodic-punk feel except with the swelling guitar walls. Again, the hooks are infectious and get the listener returning for another listen. “Pure Burst” is the finale to the disc and is a slow-tempo track with elevated guitars and a return to the almost chaotic wall of sound. Paul provides dreamy vocals beneath the torrent of noise. Slight feedback gives the feeling of disordered potential. “Pure Burst” really takes all the other elements from the album and fuses them into one song: melodic hooks, giant walls of guitar, massive dense fuzz, soaring vocals, and incredibly timed and provocative bass and drums. It’s a brilliant closer to Shimaru.

The Cherry Wave have taken several genre elements, thrown them into a shoegaze blender, and made them their own. Simaru is a beautifully unique album with all the densely-packed simmering fuzz one could ever want. Walls of sound rise and fall while the vocals soar. The Cherry Wave’s sophomore release is a great ride and shouldn’t be missed.

Tracklist:
01 – Dream Forever
02 – Hitch A Glide
03 – Inhale/Exhale
04 – Crashing
05 – Placid Blue
06 – Softwater
07 – Michinoku Overdriver
08 – Young Young
09 – Get Wide
10 – Pure Burst

Recorded and Mixed by Lewis Glass at Glassworks Studio Recording.
Mastered by Bob Cooper.

Download:

https://subyshare.com/rkfm096kcvvq/TheCherryWaveShimaru2017Bandcamp2448.rar.html

For their fourth release, a true Jazz supergroup, The Cookers, have swapped out saxophonist Craig Handy for Donald Harrison, raising the median age of the septet to just under 70. All of that longevity doesn’t mean complacency, however: The 69-year-old pianist George Cables, septuagenarians Eddie Henderson (trumpet), Billy Harper (tenor saxophone), Cecil McBee (bass) and Billy Hart (drums) and the Cookers’ two youngsters, Harrison (54) and trumpeter David Weiss (49) may bring well-defined personal styles to this ongoing project, but there’s nothing retro about them. The Cookers cook, all right, and if anything they’ve become even more assured, skillful and single-minded with each new offering.

Following their critically acclaimed album BELIEVE, The Cookers’ “Time and Time Again” once again reveals this jazz super-group’s consistently profound compositional and improvisational mastery. The sheer power of their mid 60s post-bop spirit, placed in a contemporary setting, continues to thrive and grow in their 7th year as an international act, embarking on their busiest tour season to date.

Each of the nine tracks on Time and Time Again was composed by a single member of the group-all but Harrison and Henderson contribute-and while such hopscotching of sources might in lesser hands result in a scattered program, there’s an unyielding unity pervading this recording. Harper’s opening “Sir Galahad” is an oldie, going back to his 1973 leader debut, Capra Black, which also featured Cables. The new arrangement, one of three tracks on the album arranged by Harper, is brighter, fuller and less wistful, easily identifiable as a 21st-century jam despite its pedigree. Of the five tracks arranged by Weiss, McBee’s two entries, the alternately lumbering and frenetic blues “Slippin’ and Slidin’” (no relation to the Little Richard hit) and the sprawling “Dance of the Invisible Nymph” are particularly praiseworthy. Typically, each number allows solo turns by three or four of the musicians, but it’s Cables’ “Farewell Mulgrew,” in which only his piano gets the spotlight, that provides so much of the album’s emotion. It’s a fitting tribute and a loving evocation.

Tracklist:
01 – Sir Galahad
02 – Reneda
03 – Slippin’ and Slidin’
04 – Double or Nothing
05 – Farewell Mulgrew
06 – Three Fall
07 – Time and Time Again
08 – Dance of the Invisible Nymph
09 – Dance Eternal Spirits Dance

Recorded on May 5 & 6, 2014 at Avatar Studios, New York.

Musicians:
Eddie Henderson – trumpet
David Weiss – trumpet
Billy Harper – tenor sax
Donald Harrison – alto sax
George Cables – piano
Cecil McBee – bass
Billy Hart – drums

Download:

https://subyshare.com/tggy4uuan49h/TheC00kersTimeAndTimeAgain2014Q0buz24441.rar.html

Jazz giants from six European countries coalesce to play wide-open music. One of Norway’s greatest jazz singers, Karin Krog has worked and recorded with Jan Garbarek and Clare Fischer. English multi-saxophonist John Surman and Krog have jointly won two Norwegian Grammys. Surman has played with Mike Westbrook’s Orchestra and John McLaughlin, as well as recorded a slew of records on the prestigious ECM label. Trombonist Albert Mangelsdorff was simply Germany’s most valuable jazz export and a major innovator on the instrument. Belgium pianist Francy Boland arranged for Sarah Vaughan and Count Basie, and co-led one of the great big bands of the 60’s. Danish bassist Niels H. O. Pederson received an American Grammy with the Oscar Peterson trio, played with Dexter Gordon and toured with Bill Evans. Swiss drummer Daniel Humair made his name in Paris, playing with musicians ranging from Jim Hall to Anthony Braxton. Maiden Voyage features Krog and the two horns; on Triple Play the pianist and bass take the solos. Rainy Day has Krog and Pederson in duo. Winter Song features Mangelsdorff’s buttery sound melting the snow and Surman’s heated baritone sax solo. There’s a freewheeling Nature Boy and a quirky Hello Thursday. Open Space leaves lots of room for free play; Ryoan-Ji is a Zen-like meditation on the possibilities of sound. A tantalizing album signifying that great jazz is universal.

Tracklist:
01 – Maiden Voyage
02 – Triple Play
03 – Here’s That Rainy Day
04 – Winter Song
05 – Nature Boy
06 – Hello Thursday
07 – Open Space
08 – Ryoan-Ji

Produced by Joachim E. Berendt. Engineered by Dieter Mühlmann.
Recorded on 10 & 11 November 1969 at Sonopress Studio, Berlin.
Digitally Remastered.

Musicians:
Karin Krog – vocals
Francy Boland – piano
Albert Mangelsdorff – trombone
John Surman – baritone & soprano saxophone
Niels Henning Oersted-Pedersen – bass
Daniel Humair – drums

Download:

https://subyshare.com/9dmo4ntshdet/TheD0wnBeatP0llWinnersInEur0pe0penSpace19692015HRA24882.rar.html

Amid an apparently-endless series of “returns with a vengeance”, this one in particular will please fans of American Indy rock of the 1980s. Steve Wynn has resuscitated his Dream Syndicate, whose last album to date, Ghost Stories, came out in 1988! At the cutting edge of the Paisley Underground scene, the group, founded in Los Angeles in 1981, brought together the influences of the Velvet Underground and Neil Young. They recorded three other albums: the indispensable The Days Of Wine And Roses in 1982,Medicine Show in 1984 and Out Of The Grey in 1986. They were reformed in 2012 for a series of concerts. Signed by the very fashionable ANTI label, Wynn’s gang returned to the studio for good, to put down How Did I Find Myself Here?.. The rhythm section is of its times (Dennis Duck on drums and Mark Walton on bass); the lead guitar is wielded by Jason Victor, Steve Wynn’s vigorous companion on several of his recent solo efforts. As if time itself had stopped, we find the Californian band’s DNA fully intact. The guitars are violent but not exuberant, and the rhythms are hypnotic: without a doubt, Wynn and his accomplices know how to set off powerful tsunamis of electricity and noise (Out Of My Head) and more nuanced tempests (80 West), with the same efficiency… Finally, How Did I Find Myself Here? comes across like vintage Dream Syndicate, but with a 100% 2017 sound. A sonic upgrade which will enrapture early fans and allow new ones an easy taste of this uncompromising and venomous rock’n’roll.

Tracklist:
01 – Filter Me Through You
02 – Glide
03 – Out of My Head
04 – 80 West
05 – Like Mary
06 – The Circle
07 – How Did I Find Myself Here
08 – Kendra’s Dream

Produced by Chris Cacavas & The Dream Syndicate.
Mastered by Greg Calbi at Sterling Sound.

Musicians:
Steve Wynn – vocals, guitar
Jason Victor – guitar, backing vocals
Mark Walton – bass
Dennis Duck – drums
Chris Cacavas – keyboards

Download:

https://subyshare.com/uofczq6g5xgm/TheDreamSyndicateH0wDidIFindMyselfHere2017Q0buz24441.rar.html

The sixth full-length release for the New Jersey indie rock duo of Brian Sella and Mathew Uychich was produced with Nick Furlong. The album finds The Front Bottoms embracing the impermanence of life and finding flexibility in the face of change. Having relocated band headquarters to the coastal New Jersey community of Asbury Park during the demoing stages of the album, GOING GREY sees the band acknowledging the nostalgia of simpler times with admiration, while welcoming the inevitable unknowns of life.

On Going Grey, their second release for the Warner-distributed Fueled by Ramen label, New Jersey weirdos the Front Bottoms exhibit mild signs of growing up. From their roots as a chaotic lo-fi acoustic punk act to charting high on Billboard’s Top 200 with 2015’s more polished Back on Top, Brian Sella and Matthew Uychich have come a long way with their strange and spazzy brand of indie pop. While Sella’s stream of consciousness confessional vocal rants have been somewhat tamed since his early days, the added structure provides a welcome framework as the band continues to evolve into its next phase. As with their previous release, Going Grey melds a pop punk melodicism with a bit of ’90s indie slackery, adding a bit more pop nuance this time around in the form of some clever synth parts and nice harmonies tucked neatly in the mix. The Front Bottoms have proven their boundless energy many times over, but some of the album’s more midtempo rockers stand out as creative high points like “Bae,” “Grand Finale,” and “Everyone But You.” While they’re not quite low-key offerings, a little restraint here and there does this band some good and shines a light on their abundance of strong melodies. As its title suggests, Going Grey is rife with themes of nostalgia and the passage of time, from the wistful “Vacation Town” to the warm, ’80s-inflected reflections of “Trampoline.” More tonally diverse and thoughtfully arranged than the Bottoms’ previous output, Going Grey is still wily enough to please longtime fans while adding new layers to their sound.

Tracklist:
01 – You Used To Say (Holy Fuck)
02 – Peace Sign
03 – Bae
04 – Vacation Town
05 – Don’t Fill Up On Chips
06 – Grand Finale
07 – Trampoline
08 – Raining
09 – Far Drive
10 – Everyone But You
11 – Ocean

Download:

https://subyshare.com/by47rld4p825/TheFr0ntB0tt0msG0ingGrey2017TidalMQA2448.rar.html

The Handsome Family is an alternative country and Americana duo consisting of husband and wife Brett and Rennie Sparks formed in Chicago, Illinois, and currently based in Albuquerque, New Mexico. They are perhaps best known for their song “Far from Any Road” from the album “Singing Bones”, which was used as the main title theme for the first season of HBO’s 2014 crime drama True Detective. The band’s 10th album, “Unseen”, was released in September 2016, the first new release on the band’s own label and through long-time label Loose in Europe.

We live in a fallen world, and Brett Sparks has devoted his life to documenting the sadness and disappointment that is our lot in life. Or at least his lot in life; when the Handsome Family, the musical project Sparks leads with his wife, Rennie Sparks, recorded an album of love songs (2009’s Honey Moon), he still found ways to make the experience sound dour and slightly puzzling. The less joyous experiences that dominate 2016’s Unseen, the duo’s 11th studio album, hardly give Sparks much cause for a happier tone. In short, the Handsome Family have once again presented us with a handful of sketches from life’s gloomy side, but if Brett Sparks is no Mary Sunshine, he remains a uniquely talented songwriter, and Unseen finds he’s working near the top of his game. Sparks is a splendid storyteller with a grand sense of the significant detail; you can almost feel the bullet in the gut of the luckless thief in “Gold,” the heartburn from the greasy casino buffet in “The Silver Light,” and the mingled skepticism and wonder as he peruses a circus sideshow in “Tiny Tina.” Sparks even imagines a time when the recent past seemed like a golden age in “Back in My Day,” declaring, “We had maps that unfolded back in my day/You could drink from the river, we had gods made of clay.” Sparks’ craggy voice has always been a good match for his songs, but his vocals are more agile here than on most of his previous work, and if Rennie comes in for harmonies less often these days, she makes her mark when she does. And the implacable rock & roll piano on “The Red Door,” the parlor jazz guitars of “The Silver Light,” and the gothic moods of “Gentlemen” show this group is capable of more than bummed-out vintage Americana. The Handsome Family have never been especially prolific, but they can be counted on to deliver something special when they do introduce a new album, and Unseen may not cheer you up, but it will compel and fascinate anyone with an appetite for great songwriting. ~ Mark Deming

Tracklist:
01 – Gold
02 – The Silver Light
03 – Back in My Day
04 – Tiny Tina
05 – Underneath the Falls
06 – The Sea Rose
07 – The Red Door
08 – Gentlemen
09 – King of Dust
10 – Green Willow Valley

Download:

https://subyshare.com/h27o5sh1qnu2/TheHands0meFamilyUnseen2016Q0buz2448.rar.html

This album was the first to be released showcasing Miles Davis and his new quintet (John Coltrane on tenor sax, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums). However it was not the first that Davis recorded with this quintet: before Davis could leave Prestige for his new record label, Columbia, he had to fulfill the remainder of his contract.

This was accomplished by two “marathon” sessions in May and October, 1956 that gave birth to four separate albums: Cookin’, Relaxin’, Workin’ and Steamin’. Davis actually recorded his first sessions for Columbia months earlier, in the fall of 1955, with his new quintet. The group’s club performances were exciting, marking the beginning of the period in which Davis became a celebrity, wearing Italian suits and driving Italian cars. He also became known for turning his back to the audience. Davis once explained this move very simply: “Hank Mobley is taking a solo. I want the audience concentrating on him, so I walk off the stage. They don’t need to be looking at me”.

The New Miles Davis Quintet made its first visit to the recording studios on November 16, 1955. By October 26, 1956, when they made their last session for Prestige, Davis had signed with recording giant Columbia, he had featured the most influential band in all of jazz (which would spawn the most charismatic musician of the ’60s), and was well on his way toward international stardom. Listen to The Musings of Miles, an earlier quartet date with bassist Oscar Pettiford, then listen to the difference bassist Paul Chambers and tenor saxophonist John Coltrane make. Philly Joe Jones’ dancing hi-hat reverie introduces ‘How Am I to Know,’ and the band takes it at a galloping tempo. The youthful bassist pushes the music into more modern directions with his solid time, driving beat, ringing tone, and uncanny sense of melodic counterpoint. He opens the music right up, and his rhythmic flexibility frees up Jones to play ahead of the beat and instigate an insistent polyrhythmic dialogue. From the finger-snappin’ opening groove of Benny Golson’s ‘Stablemates,’ it’s clear that this rhythm section just swings harder (and in more different styles), than anyone this side of Basie’s All-Americans or the drummer-led bands of Art Blakey and Max Roach. In Red Garland, the trumpeter found a pianist who understood his idea about touch, voicings, and space, and was able to orchestrate in the expansive style Davis favored. (Listen to his discreetly rocking, two-handed intro to ‘Just Squeeze Me,’ or his rhapsodic responses to Davis’ little boyish Harmon mute on ‘There Is No Greater Love.’) And Coltrane’s restless, turbulent lines show how Davis had finally found his perfect foil, much as the trumpeter’s introspective lyricism complemented Charlie Parker’s harmonic flights. On ‘S’Posin’,’ Trane follows Davis’ lilting, floating mute work by getting right on top of the beat with relentless syncopations. On the vaudevillian airs of ‘The Theme,’ he answers Davis’ playful melodies by scurrying about with the screaming intensity of a blues guitarist, playing catch-up-and-fall-behind, trying to double- and triple-up with every other breath.

Tracklist:
01 – Just Squeeze Me
02 – There Is No Greater Love
03 – How Am I To Know?
04 – S’posin’
05 – The Theme
06 – Stablemates

Produced by Bob Weinstock. Engineered by Rudy Van Gelder.
Recorded on November 16, 1955 at Recorded at the Van Gelder Studio, Hackensack, NJ.
Digitally Remastered.

Musicians:
Miles Davis – trumpet
John Coltrane – tenor saxophone
Red Garland – piano
Paul Chambers – bass
Philly Joe Jones – drums

Download:

https://subyshare.com/l3e09wrxa338/TheMilesDavisQuintetMiles.TheNewMilesDavisQuintet19562016HDTracks24192.rar.html

The Neighbourhood (sometimes rendered as “THE NBHD”) is an American rock band formed in Newbury Park, California in 2011. The band is composed of vocalist Jesse Rutherford, guitarists Jeremy Freedman and Zach Abels, bassist Mikey Margott, and drummer Brandon Alexander Fried. “The Neighbourhood” is the band’s third full-lenght studio release.

For a West Coast band, Los Angeles’ the Neighbourhood make a distinctly dark brand of pop that’s way more overcast than beachy. It’s a sound they’ve been exploring since 2013’s I Love You, and one they sink slowly into on their cloudy, synth-heavy third album, 2018’s The Neighbourhood. Produced with Lars Stalfors (Cold War Kids, HEALTH, Foster the People), the eponymous album is colored by dimly fluorescent keyboards a la ’80s Miami Vice composer Jan Hammer, and pulsing, club-induced claustrophobia that feels very Giorgio Moroder circa 1981. It’s easy to imagine the Neighbourhood stumbling out of a screening of Blade Runner 2049 and knowing exactly what they wanted to do here. In that sense, the album feels like both a continuation of past work and a fresh start. The opening “Flowers” is lighter and more sparkly than past songs, allowing lead singer Jesse Rutherford a chance to sing with even more intimacy and nuance. Even when the mood shifts to American Gigolo-level arch sensuality, as on “Scary Love” and the shadowy, Krautrock-infused “Softcore,” Rutherford retains his yearning, organically fractured loverman qualities. While chilly synth is the band’s preferred skin here, they also balance the digital haze with deft orchestrations and acoustic instruments, as on the languid “Sadderdaze.” Similarly, the minor-key R&B-ish ballad “Too Serious” juxtaposes softly rendered acoustic guitar, spacy keyboards, and strings with a diffuse hip-hop beat. It’s a gorgeously cinematic moment that impossibly combines Portishead’s noir electronica with Sade’s lyricism. When a band decides to go with an eponymously titled release several albums into an established career, it often works as a statement about reclaiming their identity, or making a new creative start. If that’s the case here, the Neighbourhood have done both with their own cool aplomb.

Tracklist:
01 – Flowers
02 – Scary Love
03 – Nervous
04 – Void
05 – Softcore
06 – Blue
07 – Sadderdaze
08 – Revenge
09 – You Get Me So High
10 – Reflections
11 – Too Serious
12 – Stuck with Me

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“Some Girls Wander by Mistake” is a compilation album by English band the Sisters of Mercy. The album focuses on the band’s early years, as well as their last officially released studio recordings. It collected the complete and unedited studio recording work of the band from 1980 to 1983: both sides of their first single, “The Damage Done”; both sides of their second single, “Body Electric”; the A-side of their fourth single, “Anaconda”; all tracks on their first two EPs, Alice and The Reptile House; and both sides of the 12″ EP edition of their fifth single, “Temple of Love”. Also, the Digital versions of the album feature the extended version of “Temple of Love (1992)”, in addition to the original extended version, plus several re-mixes.

For over a decade, the early singles of Andrew Eldritch’s goth crew, the Sisters of Mercy, existed only in a limited-edition vinyl format. They also went for fairly high prices, something that led to extensive bootlegging. Thankfully, in 1992 head honcho Eldritch decided to release all of the Sisters’ pre-major-label material on a single compilation CD. He was rewarded with a U.K. number one album, and the opportunity to buy himself a new Porsche. The title comes from a Leonard Cohen song, “Teachers,” which was the first song performed by the fledgling Sisters. All five early singles/EPs are here, from 1980’s “The Damage Done” to 1983’s “Temple of Love.” The material is not presented chronologically, which is fine since the band’s first two singles are the weakest on the album. “The Damage Done” might command a high price on vinyl but isn’t a particularly good song, and the 30-second B-side “Home of the Hit-Men” is entirely pointless. Follow-up single “Body Electric” is better, featuring the classic punk workout “Adrenochrome,” but it wasn’t until 1982’s “Alice” that the band hit its stride. The title track is an instant classic, while “Floorshow” became a live show staple. The Reptile House EP, featuring tracks five to ten on the CD, saw the Sisters take a turn into more overtly dark territory, featuring some of their bleakest and most anguished work. Their final indie release, “Temple of Love,” continued this trend, with Eldritch turning in an impressive vocal performance. The cover of “Gimme Shelter” doesn’t entirely work, but it’s an interesting glimpse into the band’s roots. Some Girls Wander By Mistake captures the Sisters of Mercy at their most ferocious and angry, in the years before the band became weighed down by over-produced synth-based efforts. As a look at the formative years of a still-popular band, it’s great, but as a reminder of the punk roots of the goth movement, it’s priceless.

Tracklist:
01 – Alice
02 – Floorshow
03 – Phantom
04 – 1969
05 – Kiss The Carpet
06 – Lights
07 – Valentine
08 – Fix
09 – Burn
10 – Kiss The Carpet (Reprise)
11 – Temple of Love (Extended Version 1983)
12 – Heartland
13 – Gimme Shelter
14 – The Damage Done
15 – Watch
16 – Home Of The Hit-Men
17 – Body Electric
18 – Adrenochrome
19 – Anaconda
20 – Temple of Love (1992)
21 – Vision Thing (Canadian Club Remix)
22 – Under the Gun (Metropolis Mix)
23 – Alice (1993)
24 – Under the Gun (Jutland Mix)

Please note: Here’s carefully processed to 24/96 files. Dynamic Range & peak level keep the same.

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After an opus in 2012 self-production, made of original compositions revealing an inspired and modern universe, the French saxophonist Thomas Ibanez presents his new album which is part of a great tradition of Hard Bop. He signed with the Jazz Family label and released “If Ever I Would Leave You” in March 2018. Beyond the warm, voluble and powerful sound developed in order to be on the trail of the legendary saxophonist Dexter Gordon, Thomas worked for several years on the repertoire of this new album.

Tracklist:
01 – Wailin’
02 – Trane’s Mood
03 – Embraceable You
04 – On the Road
05 – Happy Feeling
06 – Spring Is Coming
07 – A Day with You
08 – Theme for Ernie
09 – If Ever I Would Leave You
10 – Park Avenue

Produced by Thomas Ibanez. Engineered by Julien Basseres.
Recorded on December 18-19, 2017 at Studio de Meudon, France.
Mixed & Mastered by Julien Basseres.

Musicians:
Thomas Ibanez – saxophone
David Sauzay – saxophone
Fabien Mary – trumpet
Patrick Cabon – piano
Thomas Posner – double bass
Philippe Maniez – drums

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The soundtrack from Captain Underpants: The First Epic Movie, a Dreamworks adaptation of Dav Pilkey’s bestselling children’s book series, mirrors the bright humour and irreverence of the film’s underpants-toting superhero. “Weird Al” Yankovic’s theme song sets the cheeky mood of the soundtrack, which also features a new track from Cold War Kids’s Nathan Willet and Lil Yachty’s cover of Yello’s Oh Yeah.

Tracklist:
01. Weird Al Yankovic – Captain Underpants Theme Song
02. Andy Grammer – A Friend Like You
03. Kevin Hart – Saturday (Cast Version)
04. Adam Lambert – Think
05. The Students Of Jerome Horwitz Elementary School – 1812 Ofarture
06. Kevin Hart – Hallelujah
07. Lil Yachty – Oh Yeah
08. Nathan Willett of Cold War Kids – Saturday
09. Theodore Shapiro – Comic Book Opening (Score From “Captain Underpants”)
10. Theodore Shapiro – Saving The Day (Score From “Captain Underpants”)
11. Theodore Shapiro – The Prank For Good (Score From “Captain Underpants”)

Note: Tracks “9-11” is 44.1 kHz / 24-bit PCM Recordings mastered to 48 kHz.

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https://subyshare.com/39p2gep535ve/VACaptainUnderpants.TheFirstEpicM0vie0ST2017Q0buz2448.rar.html

“Love, Simon: Original Motion Picture Soundtrack” is a compilation of music inspired and from the upcoming 20th Century Fox film “Love, Simon”. The movie is based on Becky Albertalli’s book “Simon Vs. The Homo Sapiens Agenda” and have come out on March 16, 2018. The soundtrack of the film includes music by Bleachers, Troye Sivan, Amy Shark, Brenton Wood, The 1975, Normani and Khalid among others.

Tracklist:
01. Bleachers – Alfie’s Song (Not So Typical Love Song)
02. Bleachers – Rollercoaster
03. Jack Antonoff – Never Fall In Love
04. Troye Sivan – Strawberries & Cigarettes
05. Amy Shark – Sink In
06. Khalid – Love Lies
07. Brenton Wood – The Oogum Boogum Song
08. The 1975 – Love Me
09. Whitney Houston – I Wanna Dance with Somebody (Who Loves Me)
10. The Jackson 5 – Someday at Christmas
11. Haerts – Wings
12. Bleachers – Keeping A Secret
13. Bleachers – Wild Heart

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Russian-born, North Carolina-based composer Yelena Eckemoff consistently releases material that is deeply thought provoking and reflective. This time out, she leads a team with all stars Billy Hart, Ben Street and for added exoticism, violinist Mark Feldman through a collection of originals. Delicately delivered strong material. The songs are impressionistic and filled with water colors of sound.

This quartet is well equipped for the challenge of revitalizing this older material. Violinist and improviser Mark Feldman (John Abercrombie, Uri Caine) is the lead voice, supported by bassist Ben Street (Danilo Pérez, David Virelles, Billy Hart Quartet), returning veteran drummer Billy Hart (appearing on his third Eckemoff recording), and of course the composer on piano. The opener “Prologue” sets the mood with a rubato feel, just piano and drums at first. “Rising From Within” continues with a dramatic motif, followed by a contrasting section that also provides the structure for the solos. “Love Train” is driven by Hart’s vibrant groove, and he even takes a brief solo. The title tune has an especially striking Romantic theme, which Feldman makes the most of. Eckemoff recorded it by herself using piano with MIDI instruments on 2003’s Piano Chronicles I. “Ocean of Pines” also had a prior recording, on 2006’s The Call with the local ensemble Eckemoff led before she began working with international groupings.

In fact that band was the reason for the creation of these arrangements, as Eckemoff worked her old songs into trio, quartet, or quintet versions. For these sessions the improvisational element was further developed by the addition of structured improvisations, and in a few cases (e.g. “Coffee & Thunderstorm,” “Spots of Light,” “Love Train,” and “Hope Lives Eternal”) by inserting free group improvisation. Eckemoff describes her approach this way: “Traditionally, jazz is about extensive improvising on what might even be a simple tune…I provide a comprehensive, carefully thought-through musical framework…at the same time I leave much space in the framework for the creative reading by each band member.” This band embraces both the compositional framework and the improvisational elements, producing a seamless, emotional result.

Tracklist:
01 – Prologue
02 – Rising from Within
03 – Mushroom Rain
04 – Coffee & Thunderstorm (Unabridged Version)
05 – Spots of Light
06 – Love Train
07 – Leaving Everything Behind
08 – Hope Lives Eternal
09 – Tears of Tenderness
10 – Ocean of Pines
11 – A Date in Paradise

Musicians:
Yelena Eckemoff – piano
Mark Feldman – violin
Ben Street – double bass
Billy Hart – drums

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Pianist/composer Yelena Eckemoff defines radiance as “a state of happiness or confidence when everything around you is shining”. On her 2014’s album, “A Touch of Radiance”, she explores that idea from 10 different perspectives, drawing rich inspiration from memories, emotions, and dreams, and the inner world where all three intersect. Her quintet here’s Mark Turner, Joe Locke, George Mraz & Billy Hart. These four gifted artists respond gorgeously to Eckemoff’s music, wringing bold colors and deep feeling from pieces that are both airy and intricate.

Proof that Russian pianist Yelena Eckemoff is an extraordinary composer is evident from the phenomenal musicians she was able to recruit for her first-ever collection of original music for quintet. The august rhythm tandem of drummer Billy Hart and bassist George Mraz is at once piquant and complementary. What Joe Locke spools out on vibes has the tensile strength and gossamer shimmer of a spider’s web. And Mark Turner is among the most lyrical tenor saxophonists to come to prominence in the last 20 years. This sublime cast gilds the dovetailing geometry and clean aesthetics of Eckemoff’s compositions. Despite their interior intricacy, the 10 pieces flow with smooth economy, clearly favoring through-composition to jazz improvisation (ironically, Hart seems the most adventurous band member). And although the titles connote new-age ethereality, and each song is accompanied by prose in the liner notes relating to an aspect of Eckemoff’s biography, nothing in the music feels overly precious. Nevertheless, the way Eckemoff has broadened her compositional palette for trio to utilize the vibes of Locke and the sax of Turner will delight her fans and perhaps foreshadows a further expansion into mini-symphonic works-at her best, there are gentle reminders of the Romantic lyricism of Rachmaninoff here. There are also triumphant moments of understatement, as in the way Hart and Mraz burnish “Exuberance.” While it’s hard not to wonder what this quintet could have done with a little more freedom, the allure of Eckemoff’s compositions and her ace recruitments skills yield enduring dividends.

Tracklist:
01 – Inspiration
02 – Reminiscence
03 – Exuberance
04 – Affection
05 – Pep
06 – Imagination
07 – Reconciliation
08 – Tranquility
09 – Encouragement
10 – Radiance

Musicians:
Yelena Eckemoff – piano
Mark Turner – tenor saxophone
Joe Locke – vibes
George Mraz – bass
Billy Hart – drums

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https://subyshare.com/spy54vz3d6f4/YelenaEckem0ffQuintetAT0uch0fRadiance2014HDTracks24441.rar.html

Trust Weird Al Yankovic to name an album “Even Worse” even as his recordings were getting better again. After a bit of a slump, he rebounded in 1988 by making fun of the same old guy again, Michael Jackson. Video played a big part in the success of “I’m Fat,” based on “I’m Bad.” In fact, one could say it was a whole new ball game for parody artists if they were expected to provide a video with state-of-the-art special effects such as the fat suit Yankovic had designed for himself, which probably cost more than the entire budget of a Homer and Jethro album. There was also a change in the relationship between Yankovic the satirist and his target, Jackson, as the latter star’s hold on his audience was beginning to wear thin by the late ’80s. The arrogance of “I’m Bad” was perfectly trumped by Yankovic’s musical pile of lard, the appeal of the video’s visuals clearly not the only ace in the hole. Near the end of the tune, Yankovic gets into a mockery of Jackson’s vocal style that is both sublime and ridiculous. This is just the beginning of an album that gets richer as it gets along, with the maestro obviously benefitting from a period of reflection. He doesn’t just stick to covers of what was contemporary at the time, perhaps realizing that the shallowness of the music on the radio was not going to result in great hilarity. “I Think I’m a Clone Now” takes us back to Tommy James and the Shondells and is one of Yankovic’s best efforts, a perfectly realized satire that manages to come off better than the original, something of a soft rock classic to begin with. Then there is “Twister,” which raucously takes the hi-octane filth and funk of the Beastie Boys and weds them to a stupid children’s party game. Funster Yankovic seems to be getting practically savage in his attacks, an intensity both appropriate and enjoyable. George Harrison’s final and forgettable hit “I’ve Got My Mind Set on You” gets reborn as “This Song Is Just Six Words Long,” Yankovic obviously relishing the opportunity to croon lyrics such as “Can’t think of any lyrics.” Apparently running on full, Yankovic even manages to shatter all previous barriers and comes up with some funny original material as well. “Good Old Days” is a great idea, using an original number in order to lampoon yet another pop icon, in this case the simpy James Taylor. But it is “Stuck in a Closet With Vanna White” that is the real winner for Yankovic, because this was the first song he wrote that his supposed target audience of 11 year olds actually liked as much or even more than his parodies. Of course, the problem with tracks such as this is they date over the years; a time will come when nobody will remember who Vanna White is, and then listeners will wonder what the big deal is about getting stuck in a closet with her.

Tracklist:
01 – Fat
02 – Stuck In a Closet With Vanna White
03 – (This Song’s Just) Six Words Long
04 – You Make Me
05 – I Think I’m a Clone Now
06 – Lasagna
07 – Melanie
08 – Alimony
09 – Velvet Elvis
10 – Twister
11 – Good Old Days

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https://subyshare.com/nn6h5irofclr/WeirdAlYankovic_1988__Even_Worse.rar.html

Ted Nash – Presidential Suite: Eight Variations On Freedom (2016) [Official Digital Download 24bit/44,1kHz]

Teenage Wrist – Chrome Neon Jesus (2018) [Official Digital Download 24bit/44,1kHz]

Television Personalities – Beautiful Despair (2018) [Official Digital Download 24bit/44,1kHz]

The Big Moon – Love In The 4th Dimension (2017) [Official Digital Download 24bit/96kHz]

The Breeders – All Nerve (2018) [Official Digital Download 24bit/96kHz]

The Cherry Wave – Shimaru (2017) [Official Digital Download 24bit/48kHz]

The Cookers – Time And Time Again (2014) [Official Digital Download 24bit/44,1kHz]

The Down Beat Poll Winners In Europe – Open Space (1969/2015) [Official Digital Download 24bit/88,2kHz]

The Dream Syndicate – How Did I Find Myself Here (2017) [Official Digital Download 24bit/44,1kHz]

The Front Bottoms – Going Grey (2017) [Official Digital Download 24bit/48kHz]

The Handsome Family – Unseen (2016) [Official Digital Download 24bit/48kHz]

Miles Davis – Miles: The New Miles Davis Quintet (1956/2016) [Official Digital Download 24bit/192kHz]

The Neighbourhood – The Neighbourhood (2018) [Official Digital Download 24bit/44,1kHz]

The Sisters Of Mercy – Some Girls Wander By Mistake (1992/2017) [Official Digital Download 24bit/96kHz]

Thomas Ibanez Quartet – If Ever I Would Leave You (2018) [Official Digital Download 24bit/88,2kHz]

Various Artists – Captain Underpants: The First Epic Movie – Soundtrack (2017) [Official Digital Download 24bit/48kHz]

Various Artists – Love, Simon (Original Motion Picture Soundtrack) (2018) [Official Digital Download 24bit/44,1kHz]

Yelena Eckemoff – Leaving Everything Behind (2016) [Official Digital Download 24bit/88,2kHz]

Yelena Eckemoff Quintet – A Touch Of Radiance (2014) [Official Digital Download 24bit/44,1kHz]

"Weird Al" Yankovic – Even Worse (1988/2017) [Official Digital Download 24bit/44,1kHz]