Studio Masters – HDMusic.me

Though the subgenre isn’t the most popular or trendy in the world, “electro swing” has had its fair share of standout characters, and Austria’s own Parov Stelar easily sits atop the throne. Since his start almost 20 years ago, he’s been an incredibly prolific figure, putting out an extensive series of studio albums, live albums, EPs, and reputable remixes. Very few artists can so comfortably spearhead an entire sound or movement while still remaining a respected and lauded artist, which is a testament to Stelar’s chops as a musician.

Tracklist:
01. Demon Dance
02. Keep This Fire Burning
03. Hooked On You (feat. Timothy Auld)
04. Clap Your Hands
05. Hit Me Like A Drum (feat. Timothy Auld)
06. The Green Frog
07. I Need L.O.V.E.
08. Djangos Revenge
09. Gin Tonic
10. Don’t Mean A Thing
11. Josephine (1930 Version ) (feat. Lee Anduze)
12. Berlin Shuffle
13. Hit Me Like A Drum (Club Version ) (feat. Timothy Auld)
14. Six Feet Underground (feat. Claudia Kane)
15. The Sun (feat. Graham Candy)
16. Summertime (feat. Maya Bensalem)
17. Walk Away (feat. Anna F.)
18. Josephine (Candlelight Version ) (feat. Lee Anduze)
19. Magenta Rising
20. Golden Arrow (Demon Diaries Version ) (feat. Lilja Bloom)
21. Don’t Believe What They Say (feat. Angela McCluskey)
22. The Sea (feat. Harald Baumgartner)
23. Keep This Fire Burning (Stelartronic Remix)
24. The Lonely Trumpet (The Demon Diaries Outro)

Download:

https://subyshare.com/1fyuzap551wm/Par0vStelarTheDem0nDiaries20152444.1.part1.rar.html
https://subyshare.com/8x8fo58oq343/Par0vStelarTheDem0nDiaries20152444.1.part2.rar.html

Run a quick internet search for Paul de Jong’s name, and one word pops up again and again in reference to his music: “genreless.” That description has been appended to his output since his time in The Books, the celebrated collage-pop duo he co-founded with Nick Zammuto, and their breakthrough album, The Lemon of Pink, which featured a sublime combination of found sounds, samples pulled from old records (guitar, piano, and cello melodies), and glitchy vocals that pulled as much from experimental electronic music as they did from Americana. After the band broke up in the late ‘00s, de Jong made his solo debut in 2015 with IF, a record that could be considered a continuation of The Books’ sound. It showcased de Jong doing what he knows best, pulling samples from his meticulously curated record collection, and adding a joyous mixture of pop, jazz, and sounds made with everyday household items. It was a wondrous record with an uncanny joie de vivre that’s hard to describe.

His new album, You Fucken Sucker, is a completely different affair. Gone is the sense of amazement and curiosity that distinguished IF, replaced by raw, slightly unhinged, and complex experimental tracks that focus less on melody and more on translating feelings like loss, grief, doubt, anger, frustration, and confusion into sound. It’s telling that de Jong begins the journey with “Embowelment,” a track with a backbone of a chorus of voices screaming in rage sometimes looped in reverse atop syncopated drumming, acoustic guitar melodies, and synths. It’s an overwhelming composition that functions as a harbinger of the emotional purging to come. Arranged into a sequence, You Fucken Sucker’s 14 tracks tell vivid tales of modern anxieties: the need for success, the viscerality of heartbreak, the inevitability of disappointment. (The dogmatic positivity in the spoken word passages of “Doings,” “Dimples,” “Almost Doomed,” and “Doomed” wryly underscore the album’s main thrust.) There are moments of respite like “Pipe Dream,” a rare quiet track full of blips and tones but they don’t last long. The record ends with the violence of “Breaking Up,” a track that recalls the screaming chorus of “Embowelment,” with its fury laser-focused on a cheating lover. Balanced atop a plucking, tuneless guitar, the track quickly devolves into instability.

You Fucken Sucker is de Jong in an even more fearless form, with nothing to lose but darkness, anger, and despair. It’s a record that rewards repeat listeners, and inspires a reevaluation of what it means to use music as a tool for healing.

Tracklist:
01. Embowelment
02. It’s Only About Sex
03. Doings
04. Dimples
05. The Wind
06. Almost Doomed
07. Doomed
08. Pipe Dream
09. You Fucken Sucker
10. Wavehoven
11. Goor
12. The Jar Bell
13. Johnny No Cash
14. Breaking Up

Download:

https://subyshare.com/m058afb062bp/PauldeJ0ngY0uFuckenSucker20182444.1.rar.html

New Orleans septet Preservation Hall Jazz Band add Cuban flavours to their hometown gumbo with the release of their second album, ‘So It Is’. The album’s seven brand new tracks were inspired, in part, by the band’s recent visit to Cuba, says bandleader and composer Ben Jaffe: In Cuba, all of a sudden we were face to face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one – we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.

Although primarily known as one of the main proponents of traditional New Orleans jazz since debuting in 1961, New Orleans’ own Preservation Hall Jazz Band has transformed over the past 20 years into an open-minded and stylistically adventurous ensemble. One of the main drivers of this creative metamorphosis is musical director and tuba player/bassist Ben Jaffe, son of Hall founders Allan and Sandra Jaffe. Since graduating Oberlin Conservatory and joining the band in the late ’90s, Jaffe has worked to broaden the band’s appeal and find ways to combine their joyous acoustic style with all sorts of artists and musical genres outside of traditional jazz. This was the approach they took on their 2011 bluegrass-steeped collaboration with the Del McCoury Band, American Legacies, and 2013’s Jim James-produced That’s It!; the latter of which was also their first album of all-original material including songs co-written with Semisonic’s Dan Wilson. It’s also the approach they take on 2017’s ebullient So It Is. Produced by Jaffe along with TV on the Radio’s Dave Sitek, So It Is showcases a soulful, bluesy, groove-oriented set of songs heavily influenced by the roiling, kinetic sound of Afro-Latin and Cuban bands. However, rather than playing standards of the genre like “The Peanut Vendor” or “Oye Como Va,” here Jaffe and his bandmates deliver the Preservation Hall Jazz Band’s second album of all-original compositions. Cuts like “Santiago” and “Innocence,” both co-written by Jaffe and saxophonist/clarinetist Charlie Gabriel, are ferociously bumping, dance-inducing anthems built around titanically rolling drumbeats, evocative keyboard lines, and bristling, puckered horn riffs. Similarly, the kinetic “La Malanga,” co-written by Jaffe and Tao Rodriguez-Seeger (the grandson of Pete Seeger), is a carnival-level, mambo-ready jam replete with searing trumpet lines from Branden Lewis and an angular, post-bop-accented solo from pianist Kyle Roussell. Elsewhere, they dive deep into New Orleans R&B traditions on the funky, organ-steeped, minor-key, Dan Wilson co-write “One Hundred Fires,” and borrow the brassy bombast of fellow New Orleans institution the Rebirth Brass Band on the vocal and handclap-heavy audience pleaser “Mad.” Along with being a joyous and infectiously jubilant album, So It Is offers the one-two punch of letting the Preservation Hall Jazz Band play the kind of raw, no-holds-barred jazz and blues that they helped personally create a renaissance for, while surreptitiously luring their listeners into what often explodes into a full-on Afro-Latin dance party. ~ Matt Collar

Tracklist:
01. So It Is
02. Santiago
03. Innocence
04. La Malanga
05. Convergence
06. One Hundred Fires
07. Mad

Download:

https://subyshare.com/x9lkn2ucrj9a/Preservati0nHallJazzBandS0ItIs20172444.1.rar.html

That’s It! is the eagerly anticipated recording by the legendary group. Founded in 1961, Preservation Hall Jazz Band promotes traditional New Orleans jazz in all its authenticity. That’s It! marks the first album of originals in the band’s entire fifty year history. As these are all brand-new compositions, band members Ben Jaffe, Charlie Gabriel, Rickie Monie and Clint Maedgen wrote the album and collaborated with Paul Williams, Dan Wilson and Chris Stapleton on several songs. It is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation.

Preservation Hall Jazz Band’s 2013 album, That’s It!, is the first album of all-original material in their 50-year career. Certainly, the storied ensemble has performed original songs by its various members over the years, but the group has never released an album made up solely of new compositions. In that sense, the album fits in with Preservation Hall Jazz Band’s recent creative direction that found them collaborating with artists from other genres, including 2010’s Preservation: An Album to Benefit Preservation Hall & the Preservation Hall Music Outreach Program and 2011’s jazz-meets-bluegrass experiment American Legacies, featuring the Del McCoury Band. Some of this newfound creativity is surely due in large part to bassist and tuba player Ben Jaffe having taken over as Preservation Hall’s director, a legacy passed down to him by his parents, who co-founded the institution. Under his creative direction, Preservation Hall has flourished as a vital part of New Orleans culture. Produced by Jaffe along with My Morning Jacket’s Jim James, That’s It! celebrates this culture with a batch of brand-new songs that, while hewing closely to the swinging blues and gospel-oriented traditions of New Orleans jazz, never feel stodgy or revivalist. These are freewheeling, organic productions that make the most of the group’s mix of older and younger musicians. Along with new songs by Jaffe, clarinetist/vocalist Charlie Gabriel, pianist Rickie Monie, and saxophonist/vocalist Clint Maedgen, the album also features songs co-written by several pop artists, including the legendary Paul Williams and Semisonic’s Dan Wilson. All of which helps to make That’s It! a vibrant, engaging work and one of Preservation Hall’s best albums.

Tracklist:
01 – That’s It!
02 – Dear Lord (Give Me The Strength)
03 – Come with Me
04 – Sugar Plum
05 – Rattlin’ Bones
06 – I Think I Love You
07 – August Nights
08 – Halfway Right, Halfway Wrong
09 – Yellow Moon
10 – The Darker it Gets
11 – Emmalena’s Lullaby

Produced by Jim James and Ben Jaffe.
Recorded at Preservation Hall, New Orlean (November 17-25, 2012).

Personnel:
Charlie Gabriel – Clarinet, Group Member, Sax (Tenor), Vocals
Ben Jaffe – Percussion, String Bass, Tuba, Background Vocals
Clint Maedgen – Sax (Baritone), Sax (Tenor), Vocals
Mark Braud – Trumpet, Background Vocals
Ronell Johnson – Piano, Tuba, Vocals
Joe Lastie Jr. – Drums, Background Vocals
Freddie Lonzo – Trombone, Vocals
Rickie Monie – Piano, Background Vocals
Jim James – Background Vocals

Download:

https://subyshare.com/uldi9itt7ois/Preservati0nHallJazzBandThatsIt2013HDTracks24882.rar.html

Rafiq Bhatia has already proven his fondness for experimentation as a member of synth-rock trio Son Lux. But on his third solo album, Breaking English, Bhatia pushes himself even further, crafting nine instrumentals that pull from a grab bag of influences and emotions. It’s a challenging listen. “Olduvai I – Minarets” evokes the grim doom of an early Dracula film, and the icy string interlude “Olduvai II – We Are Humans, With Blood In Our Veins,” sounds like Bernard Herrmann run amok. Both songs are dense soundscapes that only make sense when considered as two halves of a whole. It isn’t just that each song covers a significantly different stretch of musical topography; throughout English, Bhatia seems explores on a single song the kind of disparate musical ideas that many artists would unpack over the course of an album. Case in point: “Hoods Up,” his tribute to Trayvon Martin which benefits from the artist’s more-is-more aesthetic, weaving together spikes-out jazz riffs, hip-hop beats, and strings. These elements fuse in the track’s noisy crescendo, which seems to suggest the hopelessness, confusion, and anger evoked by the teenager’s senseless death.

But the album is not without moments of joy. Folk meditation “A Love That’s True” plays it light, its clutch of cords repeated until encroaching reverb forces a sonic decomposition. “The Overview Effect” leans on the self-taught producer’s programming skills, introducing organic samples to create a sense of musique concrete alongside inorganic beats. But it’s the title track where Bhatia most successfully ties together his detailed vision. Over the course of six minutes, gospel-lite vocal coos are knitted together with a gentle guitar line, their amble interrupted with a surprise mid-song burst of percussion. Like communicating through an unfamiliar language, Breaking English is often less about easily-understood messages, and more about the passion it takes to push through the barriers that separate us. For many, it’s a place of confusion. But for Bhatia, chaos is just a starting point.

Tracklist:
01. Olduvai I – Minarets
02. Hoods Up
03. Olduvai II – We Are Humans, With Blood In Our Veins
04. Before Our Eyes
05. The Overview Effect
06. Breaking English
07. Perihelion I – I Tried To Scream
08. Perihelion II – Into The Sun
09. A Love That’s True

Download:

https://subyshare.com/9b4pjnw2sxad/RafiqBhatiaBreakingEnglish20182448.rar.html

“That’s Me”, Rieke Katz’s new album title says it all. The eleven songs on the record are orchestrated intelligently and lean towards well-tested classic sounds, thus bidding you welcome in the life of this charismatic singer. Third of the album is an absolute novelty to this likeable Karlsruhe-based singer. As her first album was solely composed of English texts, she now also sings in her native tongue of German. The amazing side effect of singing in German is the enhancement of her, already, impressive vocal range, thus building a bridge between pop and jazz. But “That’s Me” also expands the subjects of this vocal-jazz-pop artist with grounded funk – having “earworm” potential. Being young and aspiring in her essence she fascinates several generations with her music. A cover of Lady Gaga’ “Poker Face” is surprisingly and seemingly effortless led to R&B sounds, whereas when listening to the easy-listening classic “’s Wonderful” by George and Ida Gershwin you may just forget the burden of your day and feel the lightness of falling in love. Being at a concert of Rieke Katz is always a promise for good mood, as she always states: “A sunny song may also lighten up the night as well as melancholy can be found in the light of day. Everything is part of life. One thing causes the other – on my album, in my life. “That’s Me” undoubtedly is my most personal and cheerful statement.”

Tracklist:
01. Will That Chance Come Twice (feat. Andy Pfeiler)
02. Free
03. Bleib du (feat. Thomas Siffling)
04. Butterfly (feat. Jonas Wall)
05. Keep on Smiling
06. Nein
07. Wonderful (feat. Joo Kraus)
08. My Poker Face (feat. Andy Pfeiler)
09. Ganz bei mir (feat. Jonas Wall)
10. I’ll Be There (feat. Andy Pfeiler)
11. Traum
12. Will That Chance Come Twice (feat. Andy Pfeiler) [Radio Edit]13. Free (Radio Edit)
14. Bleib du (feat. Thomas Siffling) [Radio Edit]15. Keep on Smiling (Radio Edit)
16. My Poker Face (feat. Andy Pfeiler) [Radio Edit]17. Ganz bei mir

Download:

https://subyshare.com/ij7s1s0tiknn/RiekeKatzThatsMe20182496.part1.rar.html
https://subyshare.com/jo8th8l9d8gj/RiekeKatzThatsMe20182496.part2.rar.html

Tracklist:
01. I’m a Fool to Want You
02. I Had the Craziest Dream
03. Serenata
04. Vurria
05. Love Letters
06. The Night Ran Away with the Moon
07. Fili D’oro
08. Autumn Leaves
09. More Than a Miracle (From the MGM Production “More Than a Miracle”)
10. Who (Will Take My Place) (From the Musical Production “The World of Charles Aznavour”)
11. When Will It End? (P.J.’s Theme)

Download:

https://subyshare.com/ydqryjo0it1n/Sergi0FranchiImaF00lt0WantY0u201824192.part1.rar.html
https://subyshare.com/cpckrjj5essj/Sergi0FranchiImaF00lt0WantY0u201824192.part2.rar.html

Romantic tenor Sergio Franchi was born in Italy; during a career spanning close to three decades he won acclaim not only as an entertainer but also as a humanitarian, earning the title of “Cavaliery” from the Italian government. Becoming an American citizen in 1972, Franchi issued a series of recordings for RCA. Now listen album “Wine and Song” original recordings in 1968. Taking us on a exciting three-and-a-half octave riff from an almost bass note right up through to his thrilling tenor range! His version of San Remo winner “A Man Without Love” makes it all his own.

Tracklist:
01. A Man Without Love
02. Time Alone Will Tell
03. The Girl from Ipanema
04. To Give
05. Statte Vicino A ‘Mme
06. C’est Magnifique
07. I Wrote A Song For You
08. “Fiddler On the Roof” Medley
09. The Impossible Dream
10. Italian Medley
11. Al Di La

Download:

https://subyshare.com/twyo6tpokn2y/Sergi0FranchiWineandS0ng201824192.part1.rar.html
https://subyshare.com/0bed8vzyhpct/Sergi0FranchiWineandS0ng201824192.part2.rar.html

Skeeter Davis never received much critical attention, but in the ’50s and ’60s, she recorded some of the most accessible crossover country music, occasionally skirting rock & roll. Born Mary Penick, Davis took her last name after forming a duo with Betty Jack Davis, the Davis Sisters. Their 1953 single “I Forgot More Than You’ll Ever Know” was a big country hit; its B-side, the remarkable “Rock-a-Bye Boogie,” foreshadowed rockabilly. Now listen album “Why So Lonely?” original recordings in 1968.

Tracklist:
01. Why So Lonely?
02. Burning a Hole In My Mind
03. Don’t Keep Me Lonely Too Long
04. Promises, Promises
05. The Most Wanted Man
06. Somewhere With Me Sometime
07. I Don’t Wanna Play House
08. You’ve Still Gotta Place In My Heart
09. Little Things Got Big
10. I Wouldn’t Treat My Dog (Like You Treat Me)
11. Lonely Again
12. You Mean the World to Me

Download:

https://subyshare.com/6lgfff1az7da/SkeeterDavisWhyS0L0nely201824192.part1.rar.html
https://subyshare.com/zzr1e2wufqoq/SkeeterDavisWhyS0L0nely201824192.part2.rar.html

‘Sex & Food’ is a delightfully shapeshifting album that filters real-deal serious themes through a vibrant sonic lens that spans battered drum machine funk, doomy and thrashing rock and pinkhued psychedelic disco. Ever since they burst on the scene with blog-favourite ‘Ffunny FFriends’, Unknown Mortal Orchestra have wilfully proved themselves ready to wrong-foot all of us at each turn. Led by New Zealand’s Ruban Nielson, they followed up on that buzzy single with a fully-formed, self-titled debut in 2011 that proved the hype was well placed. Next, ‘II‘, saw them dabble with a mainstream sound while keeping their sound firmly rooted in their scuzzy origins, and 2015’s ‘Multi-Love’ was a glorious psychedelic romp through Prince-tinged pop. It seemed only natural for them to continue boogie-ing towards the dancefloor and build on ‘Multi-Love”s dancier elements.

On their fourth album, ‘Sex & Food’, you’ll be relieved to know that they’re thrown themselves into another bold new direction for a set of fuzzy, funky and fun set of songs that’ll be rattling around your head all summer long. Most notably, on the comforting ‘Honeybee’, Nielson croons a groovy ode to his daughter amid stellar production: “Careful like an orchid / love survives forever / age of paranoia / don’t be such a modern stranger / oh angel.” It may well be the best song they’ve ever done – crafting a tune that’s tender in the right places and a mightily fun summer jam in all the others.

Tracklist:
01. A God Called Hubris
02. Major League Chemicals
03. Ministry of Alienation
04. Hunnybee
05. Chronos Feasts On His Children
06. American Guilt
07. The Internet Of Love (That Way)
08. Everybody Acts Crazy Nowadays
09. This Doomsday
10. How Many Zeros
11. Not In Love We’re Just High
12. If You’re Going To Break Yourself

Download:

https://subyshare.com/9ontxdybabap/Unkn0wnM0rtal0rchestraSexF00d20182444.1.rar.html

Restoration highlights countries biggest stars with thoughtful interpretations by Dierks Bentley, Rosanne Cash and Emmylou Harris, Miley Cyrus, Vince Gill and Don Henley, Miranda Lambert, Little Big Town, Maren Morris, Kacey Musgraves, Willie Nelson, Brothers Osborne, Chris Stapleton, Rhonda Vincent and Dolly Parton and Lee Ann Womack. ‘It’s always a huge compliment when an artist loves your song enough to take the time and effort to rework it,” adds Elton John. “As songwriters, Bernie and myself are thrilled when singers we admire and respect as much as those on Revamp & Restoration choose to add their own unique twist in the process. It means that our music is still relevant and ultimately that our songs continue to reach new audiences. We’re humbled and thank them all for their generosity.

Because of our love of all kinds of music, we’re not stuck in one genre,” said Bernie Taupin. “From day one we borrowed from everything that’s good about American music – whether it’s blues, country, gospel, pop, pure rock – everything got thrown in the mix. I think that’s why our music over the years has been so varied. It would be tiring if you just got stuck in one niche your entire career, especially when it’s one as long as ours.

Tracklist:
01. Little Big Town – Rocket Man
02. Maren Morris – Mona Lisas And Mad Hatters
03. Don Henley & Vince Gill – Sacrifice
04. Brothers Osborne – Take Me To The Pilot
05. Miranda Lambert – My Father’s Gun
06. Chris Stapleton – I Want Love
07. Lee Ann Womack – Honky Cat
08. Kacey Musgraves – Roy Rogers
09. Rhonda Vincent & Dolly Parton – Please
10. Miley Cyrus – The Bitch Is Back
11. Dierks Bentley – Sad Songs (Say So Much)
12. Rosanne Cash & Emmylou Harris – This Train Don’t Stop There Anymore
13. Willie Nelson – Border Song

Download:

https://subyshare.com/lpmi1tduxqxc/VARest0rati0nTheS0ngs0fElt0nJ0hnAndBernieTaupin20182496.part1.rar.html
https://subyshare.com/1pzbff149hia/VARest0rati0nTheS0ngs0fElt0nJ0hnAndBernieTaupin20182496.part2.rar.html

Le premier opus de l’hommage à Alain Souchon sorti en juin avait déçu par son manque d’audace général. Le deuxième volume programmé pour le 6 avril propose des perles méconnues mais surtout un casting beaucoup plus intéressant: Albin de la Simone, Vincent Delerm, Maxime Le Forestier, Gaëtan Roussel, ente autres…

On l’attendait tellement, ce disque-hommage concocté par les fistons Ours et Pierre Souchon sous la houlette de Renaud Létang que la déception avait elle aussi été conséquente: mises à part quelques versions audacieuses (“Sous les jupes des filles” par M), pas de vraie surprise, de vraie émotion.

Quand on voit le casting et les chansons du deuxième volume à sortir le 6 avril et préparé par le même trio, on salive un peu plus. Des interprètes plus proches de son univers (Delerm, De la Simone, Boogaerts…) et des perles méconnues du grand public. Grand mystère: Camille livre une chanson originale, sur Souchon et ses bienfaits depuis 40 ans dans le coeur des gens et de la chanson (“Souchon sous la pluie”). Premier extrait de “Souchon dans l’air, vol.2”: “Sommerset Maugham” par Keren Ann. Et c’est un délice.

Tracklsit
01. Katerine – Jamais content
02. Maxime Le Forestier – L’amour en fuite
03. Mathieu Boogaerts – J’étais pas là
04. Adrien Gallo – On s’aime pas (Remix)
05. Keren Ann – Somerset Maugham (Extrait de “Souchon dans l’air, vol. 2”)
06. L – La beauté d’Ava Gardner
07. Arthur H – Tailler la zone
08. Albin De La Simone – Le dégoût
09. infinite bisous – J’veux du cuir
10. Vianney – Rive gauche
11. Vincent Delerm – On se cache des choses
12. Gaëtan Roussel – S’asseoir par terre
13. Alex Beaupain – On avance
14. Ours & Pierre Souchon – La p’tite Bill, elle est malade
15. Camille – Souchon sous la pluie
16. Yael Naim – Foule sentimentale

Download:

https://subyshare.com/ej0ygor1auq7/VAS0uch0ndanslairV0l.220182444.1.rar.html

In March 2018, Björk released an EP featuring remixes of ‘Arisen My Senses’ by Jlin, Kelly Lee Owens and Lanark Artefax. The title song ‘Arisen My Senses’ opens Björk’s latest album, Utopia, and was co-produced by Arca. A 12″ edition of the EP will be released May 25 on One Little Indian and is pressed on “slug genitalia” colored vinyl.

Tracklist:
01 – Arisen My Senses (feat. Arca) [Lanark Artefax Remix]02 – Arisen My Senses (feat. Arca) [Jlin Rework]03 – Arisen My Senses (feat. Arca) [Kelly Lee Owens Remix]

Download:

https://subyshare.com/y8oyranziqlj/Bj0rkArisenMySensesfeat.ArcaRemixes2018Q0buz2448.rar.html

“Beyond the Red Mirror” is the tenth studio album by German metal band Blind Guardian. A concept album and a sequel to “Imaginations from the Other Side”, “Beyond the Red Mirror” has been described by Hansi Kürsch as “A story between science fiction and fantasy. The two worlds described have changed dramatically for the worse since then. While there used to be several passages between the worlds, there is only one gate left now: The Red Mirror. It has to be found at any cost”.

The German power metal unit’s tenth studio album and first since 2010’s At the Edge of Time, Beyond the Red Mirror is being billed as a sequel to 1995’s much-loved Imaginations from the Other Side, but listeners need not be versed in that sci-fi/fantasy narrative to enjoy the ride, as per usual, Blind Guardian lets the music do most of the talking. Sparing no expense, the band enlisted two full 90-piece orchestras and three international choirs (Prague, Budapest, and Boston), but unlike some of their symphony-loving peers, the window dressing is integrated tastefully, allowing the veteran band’s well-established technical skill set to shine through. Nearly three decades into their career, Blind Guardian still sound like a spinning top at the edge of a very high (and very ornate) table, firing ideas into the ether with the subtlety of a Gatling Gun, while miraculously maintaining their footing. Nowhere is this penchant for frantic, progressive metal fanfare more apparent than on the nearly ten-minute opener “The Ninth Wave, a lavish, electro-tinged, pseudo-Wagnerian epic that feels like a highlight reel of the band’s entire career thus far. Like the majority of the ten-track set, it’s bold, immediate, and relentlessly melodic, due in large part to frontman Hansi Kursch’s robust vocals, whose stacked Dee Snider-meets-Queen harmonies and commanding presence form the basis of nearly all of the group’s best offerings. That equation is put to its best use on the rollicking follow-up, “Twilight of the Gods,” the closest Beyond the Red Mirror gets to a single, and a prime example of how deft the band is at fusing pop melodies to a backbone of pure metal might. The rest of the album follows suit, making stops at vintage thrash (“The Holy Grail”), Iron Maiden-inspired, guitarmony-laden NWOBHM (“Prophecies”), and opera metal (“The Throne”), before tying things up with the aptly named “Grand Parade,” another just-under-ten-minute, neo-classical metal stunner that’s as unapologetically ostentatious as it is genuinely goose bump-inducing.

Tracklist:
01 – The Ninth Wave
02 – Twilight Of The Gods
03 – Prophecies
04 – At The Edge Of Time
05 – Ashes Of Eternity
06 – Distant Memories [Bonus Track]07 – The Holy Grail
08 – The Throne
09 – Sacred Mind
10 – Miracle Machine
11 – Grand Parade

Produced by Charlie Bauerfeind.
Recorded in 2014 at Twilight Hall Studio, Grefrath, Germany.

Musicians:
Hansi Kürsch – lead and backing vocals
André Olbrich – lead, rhythm and acoustic guitars
Marcus Siepen – rhythm guitar
Frederik Ehmke – drums, percussion

AdditionalMusicians:
Barend Courbois – bass guitar
Michael Schüren – piano
Mattias Ulmer – keyboards, piano

Download:

https://subyshare.com/w0uzm0qv6ml5/BlindGuardianBey0ndTheRedMirr0r20152018Q0buz2496.part1.rar.html
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Highly respected drummer and prolific composer Bobby Previte continues his Terminals trilogy with “Rhapsody”, a song cycle on the subject of transit and migration. Subtitled In Transit: Terminals II, Previte’s newest work was scored for acoustic sextet and features fellow composerimprovisers in guitarist Nels Cline, harpist Zeena Parkins, pianist John Medeski, vocalist, alto saxophonist Fabian Rucker and vocalist-erhu player Jen Shyu.

For the second installment of his Terminals trilogy, an ongoing ode to transit and migration, drummer Bobby Previte has convened a dream group. Although featuring musicians often found in electr(on)ic settings, Rhapsody unfolds a grand mise-en-scène by purely acoustic means. “Casting Off” and “I Arrive,” respectively, begin and end the album by threading the vocal delivery of Jen Shyu (whose erhu playing is another distinct color in this palette) through the netting of John Medeski’s piano and Fabian Rucker’s alto saxophone. As the center of the action, Shyu imbues Previte’s lyrics (a first for him) with theatrical punch, singing the role of an airplane traveler cycling through various stages of self-awareness until she reaches her unknown destination under cover of night. That state of liminality—of hanging suspended between locations with only a thin layer of metal and composite between you and certain death—is beautifully rendered in Previte’s downright cinematic movements, each of which variously highlights the strengths of one or more of his bandmates. Medeski shines in “When I Land,” his precise syncopations seeming to chart every leg of the journey, and, in tandem with harpist Zeena Parkins, he renders the backdrop of tracks like “The Lost” and “The Timekeeper” while Ruckman carefully links his own chains of melody and abstraction. Hearing Parkins unplugged is an especial privilege; in this context, her crystalline beauty feels nearly all-consuming. Guitarist Nels Cline treads a parallel path and to highest effect in “All Hands,” in which his slide guitar sounds almost like a pipa. Previte himself completes the picture, playing an assortment of drums and percussion and, in “Last Stand/Final Approach,” autoharp and harmonica to boot. He treats himself no differently than his other musicians, letting his singular compositional voice ring over all, handing us a light to navigate the darkness in which he leaves us.

Tracklist:
01 – Casting Off
02 – All The World
03 – The Lost
04 – When I Land
05 – The Timekeeper
06 – Coming About
07 – All Hands
08 – Last Stand / Final Approach
09 – I Arrive

Musicians:
Bobby Previte – trap drums, percussion, autoharp, guitar, harmonica
Nels Cline – acoustic guitar, slide guitar, twelve string guitar
Jen Shyu – voice, er hu
Fabian Rucker – saxophone
Zeena Parkins – harp
John Medeski – piano

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“eternity” is a live album by Boris, recorded on 28 December 2017 on the final date of the band’s DEAR 25th Anniversary Tour and released digitally via their Fangsanalsatan imprint. This set depicts the band performing the entirety of Dear, a section of the original Absolutego from 1996 and a new song in “Phenomenons Drive”. Two songs were performed this night and were omitted from the digital release in “Akuma no Uta” (From Akuma no Uta) and Farewell (From Pink), the former featuring Taichi Nagura Koki Miyabe of ENDON.

Boris、 2017年末に行われた25周年ツアーの代官山UNIT公演の模様をハイレゾにてOTOTOY独占配信。同音源ではアンコールを除く、約2時間に渡るライヴ本編を完全収録し、アルバム『Dear』の楽曲を中心に、最初期の楽曲から未レコーディングとなる新曲も収められている。ミックスとマスタリングは当日のライヴにも参加し、彼らの作品にも多く携わって来た中村宗一郎が担当。ライヴで披露された圧倒的な音像を、そのまま追体験することが出来る。

Tracklist:
01 – Dystopia Intro
02 – Absolutego
03 – D.O.W.N -Domination of Waiting Noise-
04 – DEADSONG -詩-
05 – Absolutego -絶対自我-
06 – Beyond -かのひと-
07 – Phenomenons Drive
08 – Kagero -蜉蝣-
09 – Biotope -ビオトープ-
10 – The Power
11 – Memento Mori
12 – Dystopia -Vanishing Point / 何処へ-
13 – Dear

Recorded on December 28, 2017 at Daikanyama UNIT, Tokyo, Japan.

Musicians:
Takeshi – Bass, Guitar, Vocals
Wata – Guitar, Keyboards, Vocals
Atsuo – Drums, Gong, Vocals

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“Sofienberg Spirits”, the third solo album by the Swiss pianist Christoph Stiefel, can be anchored in the world of classical music as well as in jazz; it can be called impressionistic or meditative, as standing above things or resting deep within their core.

Born in Zurich, Switzerland in 1961, the pianist became a permanent band member of Andreas Vollenweider & Friends at the age of 23. He toured with the band from 1984 to 1989 through Europe, Australia, Japan and the USA. He became well known internationally in the last few years, in particular, for his own compositional style, through which he has created a contemporary type of jazz by using a compositional technique from the Middle Ages (isorhythm) – his music oscillates between intensive grooves and tonal color painting in a fascinating manner. For years, he has fostered this compositional style, mostly in his “Inner Language Trio”, which manages the balancing act between precise conceptual work and unleashed improvisation with such aplomb as few other formations in the current jazz scene.

Tracklist:
01 – Sofienberg Spirits I
02 – Sofienberg Spirits IV
03 – Sofienberg Spirits III
04 – Inner Roughs
05 – Sofienberg Spirits II
06 – Reminiscence
07 – Sofienberg Spirits VI
08 – Giant Steps
09 – Inner Language / Isorhythm # 19
10 – Beauty
11 – Sofienberg Spirits V
12 – A Great Place / Isorhythm # 34
13 – Attitudes / Isorhythm # 31
14 – Sofienberg Spirits VII

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Clément Simon is the French Jazz pianist. “Man On The Moon” is a collection of the original repetoire recorded with a group of outstanding musicians, members of Parisian scene and beyond. Together, they play a contemporary jazz that has its source in the song, Broadway and elsewhere, classical music, cinema … the waltz and the bolero meet the incursions in the rhythm’n blues, the tributes to the swing and hard bop.

Tracklist:
01 – A Train to Valparaiso
02 – Where Are You Now
03 – Fancy Folk Song
04 – Babel
05 – Berceuse pour un héros
06 – You Vs Karma
07 – No Pain No Gain
08 – Man on the Moon

Musicians:
Clément Simon – piano
Romain Cuoq – saxophone
Anthony Winzenrieth – guitar
Richard Métairon – double bass
Clément Cliquet – drums

Download:

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“Treasure” is the third studio album by Scottish alternative rock band Cocteau Twins. It was released on 1 November 1984 by 4AD. With this album, the band settled on what would, from then on, be their primary lineup: vocalist Elizabeth Fraser, guitarist Robin Guthrie and bass guitarist Simon Raymonde. This new lineup also coincided with the development of the ethereal sound associated with the band’s music.

The opening two numbers of Treasure are simply flawless, starting with “Ivo,” where gently strummed guitar and low bass support Fraser’s singing; then suddenly added, astonishing chimes and steady percussion build up to a jaw-dropping Guthrie guitar solo. Topping that would be hard for anyone, but in “Lorelei,” the Twins do it, with an introductory, breathtaking guitar surge leading into one of Fraser’s best vocals, compelling in both its heavenly and earthly tones and rolls. Not a word may be understandable, but it isn’t necessary, while the music, driven on by a pounding rhythm, is as perfect a justification of digital delay pedals and the like as can be found. As Treasure continues, the accomplished variety is what stands out the most, whether it be the gentle, futuristic-medieval pluckings on “Beatrix,” the understated moody washes and Fraser whispers on “Otterley,” the upbeat guitar lines of “Aloysius,” or the slightly jazzy touches on “Pandora.” The concluding number ends the record on the peak with which it began. “Donimo” starts with a mysterious mix of mock choir sounds, ambient echoes and noises, and Fraser’s careful singing before finally exploding into one last heavenly wash of powerful sound; Guthrie’s guitar, Raymonde’s steady bass, and drum machine smashes provide the perfect bed for Fraser’s final, exultant vocals. Treasure lives up to its title and then some as a thorough and complete triumph.

Tracklist:
01 – Ivo
02 – Lorelei
03 – Beatrix
04 – Persephone
05 – Pandora (For Cindy)
06 – Amelia
07 – Aloysius
08 – Cicely
09 – Otterley
10 – Donimo

Produced by Cocteau Twins.

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Tiny Dynamine and Echoes in a Shallow Bay are two EPs by Cocteau Twins that were released in November of 1985. The tracks were originally recorded in order to test a new recording studio the band was using.

Released in tandem with the Echoes in a Shallow Bay EP and each essentially a companion piece to the other – the cover art and design alone are virtually clones – Tiny Dynamine documents a more relaxed Cocteau Twins. The band steps away more from the intense drama often brought to earlier albums and singles, indirectly signaling the equally calm but striking work that would surface on Victorialand and The Moon and the Melodies. “Pink Orange Red” would turn into a longtime favorite of the group’s, played on later tours and remade for the Twinlights EP nearly a decade later. A heartbreakingly beautiful Guthrie guitar opens the track, echoing and liquid, with Fraser’s vocal coming in a few chords later. Raymonde’s bass and the drum machine kick in a full-band arrangement, while Guthrie’s descending guitar lines after each verse provide the icing on the cake. The instrumental “Ribbed and Veined” has some fine Guthrie chiming and a loping percussion beat to recommend it, while “Sultitan Itan” is fair but not quite as strong in comparison, nice multi-tracking of Fraser’s vocals on the chorus aside. “Plain Tiger” concludes the EP on a slightly playful note, an upbeat little rhythm groove on the verses alternating with a more strident tone on the chorus, Fraser’s voice being much more staccato at the latter points.
Appearing the same month as its companion release Tiny Dynamine, Echoes maintains the more relaxed-though-still-lush feeling of that EP; if its songs aren’t quite as memorable as some of those on Dynamine, they still provide that lovely, unique Cocteau feeling in their performances and arrangements. “Great Spangled Fritillary” adds a touch of dark psychedelia to the proceedings, gong-like chimes and buried feedback drones mixing with the more expected Fraser singing and drum machine loops. “Melonella” has a neat hook by matching the main piano line and Fraser’s voice exactly in the verse, one constantly accompanying the other. For the chorus, she steps away for a little more free-form singing against extra guitar. “Pale Clouded White,” the EP’s best track, reintroduces the slightly ominous, dramatic edge that often characterizes the band’s most memorable work. An insistent piano line matches with the bass/drum combination, while Guthrie incorporates both electric and acoustic guitar lines as Fraser sings with understated but strong passion. “Eggs and Their Shells” wraps Echoes up on a softer note, a sweet Fraser vocal and guitar/piano arrangement leading the way.

Tracklist:
01 – Pink Orange Red
02 – Ribbed and Veined
03 – Plain Tiger
04 – Sultitan Itan
05 – Great Spangled Fritillary
06 – Melonella
07 – Pale Clouded White
08 – Eggs and Their Shells

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Parov Stelar – The Demon Diaries (2015) [Official Digital Download 24bit/44,1kHz]

Paul de Jong – You Fucken Sucker (2018) [Official Digital Download 24bit/44,1kHz]

Preservation Hall Jazz Band – So It Is (2017) [Official Digital Download 24bit/44,1kHz]

Preservation Hall Jazz Band – That’s It! (2013) [Official Digital Download 24bit/88,2kHz]

Rafiq Bhatia – Breaking English (2018) [Official Digital Download 24bit/48kHz]

Rieke Katz – That’s Me (2018) [Official Digital Download 24bit/96kHz]

Sergio Franchi – I’m a Fool to Want You (1968/2018) [Official Digital Download 24bit/192kHz]

Sergio Franchi – Wine and Song (1968/2018) [Official Digital Download 24bit/192kHz]

Skeeter Davis – Why So Lonely? (1968/2018) [Official Digital Download 24bit/192kHz]

Unknown Mortal Orchestra – Sex & Food (2018) [Official Digital Download 24bit/44,1kHz]

Various Artists – Restoration: The Songs Of Elton John And Bernie Taupin (2018) [Official Digital Download 24bit/96kHz]

Various Artists – Souchon dans l’air (Vol. 2) (2018) [Official Digital Download 24bit/44,1kHz]

Bjork – Arisen My Senses (feat. Arca) [Remixes] (2018) [Official Digital Download 24bit/48kHz]

Blind Guardian – Beyond The Red Mirror (2015/2018) [Official Digital Download 24bit/96kHz]

Bobby Previte – Rhapsody (2018) [Official Digital Download 24bit/96kHz]

Boris – Eternity (2018) [Official Digital Download 24bit/48kHz]

Christoph Stiefel – Sofienberg Spirits (Piano Solo) (2018) [Official Digital Download 24bit/44,1kHz]

Clement Simon – Man On The Moon (2018) [Official Digital Download 24bit/88,2kHz]

Cocteau Twins – Treasure (1984/2018) [Official Digital Download 24bit/44,1kHz]

Cocteau Twins – Tiny Dynamine; Echoes In A Shallow Bay (1985/2015) [Official Digital Download 24bit/96kHz]