Studio Masters – HDMusic.me

“I don’t want to put a name on my music. Other people can put a name on what I do. It’s just the union of what I’ve been listening to and what I’ve been learning. It has some elements of classical music, it has some rock, it has some jazz, but I don’t want to give it a name.” —Hiromi Uehara

Japanese native Hiromi Uehara may still be a student at Berklee School of Music in Boston, but there’s already a great deal that she could teach those in the music world whose ears and minds are sufficiently open. Her debut album, Another Mind, offers a glimpse into the highly creative inner world of a gifted young pianist whose roots are in jazz but whose potential is unlimited. Mentored by keyboard giants like Oscar Peterson, Ahmad Jamal and Chick Corea, Hiromi turns jazz tradition on its head and plunges into a universe of new ideas where others of her generation have barely scratched the surface.

Born in Shizuoka, Japan, in 1979, Hiromi took up the piano at age six. Within a year, she was a student of the Yamaha School of Music, whose progressive approach to musical training allowed the young student to tap into her emotions as well as mastering the technical aspects of writing and performing. “I could really play from my heart,” she says, “and not just from my ears.”

She came to the United States in 1999 to continue her studies at Berklee. The cross-cultural experience has opened her ears and her mind to new and varied musical tastes that encompass everyone from J. S. Bach to Franz Liszt to Sly and the Family Stone to King Crimson. An ambitious and engaging debut, Another Mind is a distillation of all of these sensibilities and more. Though rooted in jazz, the album’s nine tracks make frequent forays into pop, R&B and avant-garde. From the first measures of “XYZ,” Hiromi commands the listener’s attention with insistent, syncopated keyboard riffs that churn forward with locomotive intensity. “Double Personality” sets up a taut balance of rhythm and melody that careens through various interludes of high-speed and high-energy freeform.

Later in the sequence, the relaxed and easygoing “Joy” is a departure from the intensity that characterizes the lion’s share of the album. Also noteworthy are the quirky, techo-flavored “010101 Binary System,” the melodic and hypnotic title track and the whimsical bonus track, “The Tom & Jerry Show.” Along the way, Hiromi is supported by a fine team of musicians that includes her own backup unit of bassist Mitch Cohn and drummer Dave Di Censo, as well as three formidable guest players: bassist Anthony Jackson, alto saxophonist Jim Odgren and guitarist Dave Fiuczynski.

Jackson, a seasoned session player with a mile-long list of credits dating back to the early ‘70s, heaps high praise on the young talent: “Hiromi stands in the front rank of the greatest players that I’ve ever worked with,” he says, “and I’ve worked with quite a few of them.”

“Hiromi continues to change the musical landscape everywhere she performs,” says pianist Ahmad Jamal, who co-produced Another Mind (along with veteran bassist/ arranger / producer and Berklee professor Richard Evans) and has taken an active interest in her career. “Her music, together with her overwhelming charm and spirit, causes her to soar to unimaginable musical heights. She is nothing short of amazing.”

“On the back of the CD case is a photo that is basically a heads-up as to what you can expect from this debut album by 23-year-old jazz pianist Hiromi Uehara. She is standing outside wearing a black dress and a strange yellow-and-white wrap. Her face is turned up to the sky, her eyes and mouth closed, her jaw clenched; her arms are held straight down by her sides with her fingers splayed wide. It’s a stance that bespeaks intense energy and a certain defiance. Most of the music contained in the CD seems to have been made in a similar attitude, for better and, occasionally, for worse. Uehara plays with an almost demonic energy and amazing stamina; on a program that consists entirely of original compositions, most of them delivered in a standard piano trio format, she zips from style to style with a sense of urgency that borders at times on the manic. Her propulsive “XYZ” opens the album with churning intensity; “Double Personality” finds her alternating between nearly harmolodic free improvisation and carefully composed modern jazz; “Joy” offers a gentle breath of fresh air before she resumes her headlong musical charge. The album ends with a bonus track, an unaccompanied piano piece called “The Tom and Jerry Show,” which alternates between loopy, Carl Stalling-esque avant-gardism and high-speed ragtime. By the end of this album you’ll be tired, but it’s a good tired. Heaven only knows what her next album will sound like, but the laws of physics would seem to dictate that she’ll have to slow down a bit.” (Rick Anderson, AMG)

Tracklist:
1. XYZ 05:37
2. Double Personality 11:57
3. Summer Rain 06:07
4. Joy 08:29
5. 010101 (Binary System) 08:23
6. Truth And Lies 07:20
7. Dancando No Paraiso 07:39
8. Another Mind 08:44
9. The Tom And Jerry Show 06:05

Personnel:
Hiromi Uehara, piano
Mitch Cohn, bass
Dave DiCenso, drums
Guests:
Anthony Jackson, bass
Jim Odgren, alto saxophone
Dave Fiuczynski, guitar
Recorded in Avatar Studio C, New York City, September 16-18, 2002
Produced by Richard Evans, Ahmad Jamal

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Haydn’s stupendous, joyous and uplifting oratorio Die Schöpfung (The Creation) is thrillingly brought to life in this recording with Andrés Orozco-Estrada conducting the Houston Symphony, with the Houston Symphony Chorus and the acclaimed operatic soloists Nicole Heaston, Toby Spence and Peter Rose. With its startling dramatic gestures, bold orchestral colours and sublimely beautiful word painting, Haydn’s astonishing depiction of the Genesis creation story remains his supreme masterpiece and one of the best-loved works in the entire choral repertoire. In a vivid series of tableaux, from the creation of light to Adam and Eve’s love duet, Haydn brings to life the birds, beasts and angels which all rejoice in soaring, life-affirming music.

This perfectly classical new version of The Creation by Haydn was recorded in two concerts given at the Jesse H. Jones Hall in Houston, on 27 September and 2 October 2016. Subtitled in English, these concerts also saw exhibits of cheerful drawings by the schoolchildren of Houston, who imagined whales jumping in the water beneath a starry sky. While the record doesn’t contain the pictures, it does capture the festive and awestruck atmosphere of the night with conductor Andrés Orozco-Estrada.
Born in 1977, in Medellín, Colombia, this violinist and conductor went to study in Vienna at the age of 20, quickly becoming a sought-after artist. In 2009, he took charge of the Frankfurt Radio Symphony Orchestra, and then became the first guest conductor of the London Philharmonic, and took the post of musical director of the Houston Symphony Orchestra in Texas. Playing the game of musical chairs which is so popular these days, Orozco-Estrada will conduct the Vienna Symphony Orchestra from the 2021-2022 season, taking over from Philippe Jordan, who will himself move on to be the musical director of the opera house in the Austrian capital.
Made sublime by the excellent sound recording by the engineers at Pentatone, this recording of The Creation offers a delicious taste of the Texan orchestra’s exquisite wind soloists, the fluidity of the string section and the excellence of the Houston Symphony Chorus, whose substantial numbers don’t in any way reduce the perfect clarity of this fervent performance, with highlights from the three soloists Nicole Heaston, Peter Rose and Toby Spencer. – François Hudry

Tracklist:
1. No. 1, Die Vorstellung des Chaos 07:58
2. No. 2, Nun schwanden vor dem heiligen Strahle 03:54
3. No. 3, Und Gott machte das Firmament 01:59
4. No. 4, Mit Staunen sieht das Wunderwerk 01:58
5. No. 5, Und Gott sprach “Es sammle sich das Wasser” 00:32
6. No. 6, Rollend in schäumenden Wellen 03:53
7. No. 7, Und Gott sprach “Es bringe die Erde Gras hervor” 00:32
8. No. 8, Nun beut die Flur das frische Grün 05:07
9. No. 9, Und die himmlischen Heerscharen verkündigten den dritten Tag 00:12
10. No. 10, Stimmt an die Saiten 02:03
11. No. 11, Und Gott sprach, Es seien Lichter an der Feste des Himmels 00:38
12. No. 12, In vollem Glanze steiget jetzt die Sonne strahlend auf 02:53
13. No. 13, Die Himmel erzählen die Ehre Gottes 04:12
14. No. 14, Und Gott sprach, Es bringe das Wasser in der Fülle hervor 00:28
15. No. 15, Auf starkem Fittiche schwinget sich der Adler stolz 07:15
16. No. 16, Und Gott schuf große Walfische 02:23
17. No. 18, In holder Anmut stehn 04:18
18. No. 19, Der Herr ist groß in seiner Macht 02:15
19. No. 20, Und Gott sprach, Es bringe die Erde hervor lebende Geschöpfe 00:24
20. No. 21, Gleich öffnet sich der Erde Schoß 03:06
21. No. 22, Nun scheint in vollem Glanze der Himmel 03:07
22. No. 23, Und Gott schuf den Menschen 00:45
23. No. 24, Mit Würd’ und Hoheit angetan 03:33
24. No. 25, Und Gott sah jedes Ding 00:18
25. No. 26, Vollendet ist das große Werk 08:08
26. No. 29, Aus Rosenwolken bricht 04:15
27. No. 30, Von deiner Güt, o Herr und Gott 09:06
28. No. 31, Nun ist die erste Pflicht erfüllt 02:11
29. No. 32, Holde Gattin, dir zur Seite 07:55
30. No. 33, O glücklich Paar, und glücklich immerfort 00:27
31. No. 34, Singt dem Herren alle Stimmen! 03:23

Personnel:
Nicole Heaston, soprano
Toby Spence, tenor
Peter Rose, bass
Houston Symphony Chorus
Houston Symphony
Andrés Orozco-Estrada, conductor

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One of the most popular saxophonists performing today, Huw Wiggin has been said by The Times to have a tone of ‘liquid gold’. For his latest album Huw has put together a programme that is as varied as it is popular, and for which he commissioned several brand new arrangements by John Lenehan, including Debussy’s ‘The Girl with the Flaxon Hair’. The result is a unique journey of contrasting repertoire, enlivened by the versatile nature of the saxophone, and these innovative interpretations bring a new twist to familiar musical territory.

Tracklist:
1. Oboe Concerto in D minor : I. Andante e spiccato 03:16
2. Oboe Concerto in D minor : II. Adagio 04:17
3. Oboe Concerto in D minor : III. Presto 03:12
4. Du bist die Ruh, Op. 59, No. 3, D. 776 (arr. for saxophone and piano) 03:46
5. Die Forelle, D. 550 (arr. for saxophone and piano) 02:14
6. Holberg Suite, Op. 40 : Fra Holbergs tid (From Holberg’s Time), Op. 40: IV. Air (arr. J. Lenehan for saxophone and piano) 05:00
7. Carnival of the Animals, R. 125 : Carnival of the Animals: XIII. Le Cygne (The Swan) (arr. for saxophone and piano) 02:36
8. 2 Arabesques, L. 66 : 2 Arabesques: No. 1 in E Major (arr. for saxophone and harp) 04:37
9. Preludes, Book 1, L. 117 : Préludes, Book 1: No. 8. La fille aux cheveux de lin (arr. for saxophone and harp) 02:33
10. 7 Canciones populares españolas : No. 1. El paño moruno 01:09
11. 7 Canciones populares españolas : No. 2. Seguidilla murciana 01:09
12. 7 Canciones populares españolas : No. 3. Asturiana 02:45
13. 7 Canciones populares españolas : No. 4. Jota 02:45
14. 7 Canciones populares españolas : No. 5. Nana 01:45
15. 7 Canciones populares españolas : No. 6. Canción 00:59
16. 7 Canciones populares españolas : No. 7. Polo 01:21
17. Tableaux de Provence : I. Farandoulo di Chatouno (Farandoulo des jeunes filles) 02:39
18. Tableaux de Provence : II. Cansoun per ma mio (Chanson pour ma Mie) 01:47
19. Tableaux de Provence : III. La Boumiano (La Bohemienne) 01:08
20. Tableaux de Provence : IV. Dis Alyscamps l’amo souspire (Des Alyscamps l’Ame soupire) 05:05
21. Tableaux de Provence : V. Lou Cabridan (Le Cabridan) 03:50
22. Fugata (arr. J. Lenehan for saxophone and piano) 03:02
23. Oblivion (arr. J. Lenehan for saxophone and piano) 03:38
24. Tale of Tsar Saltan, Op. 57 : Flight of the Bumble-bee (arr. for saxophone and piano) 01:20
25. Fuzzy Bird Sonata, Op. 44 : II. Sing, bird 05:25

Personnel:
Huw Wiggin, saxophone
John Lenehan, piano
Oliver Wass, harp

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Jeroen van Veen about his own piano music: “All my music is about time and space. The duration of music is an essential part of the concept in my music. Time goes by so quickly in these modern times that it has become an exclusive privilege to people. The concept of music, specifically my minimal oriented music, only can exist in time. The slow progression, the building of the material, the motifs and the search for new sounds is audible in this new box”.

This set contains music ranging from one piano, two pianos, piano and keyboards, organ, up till 6 pianos.

Jeroen van Veen established himself as “The leading exponent of minimalism today” (Fanfare), “Jeroen van Veen has been a powerhouse in the piano world” (Musicweb). His numerous recordings for Brilliant Classics include works by Glass, Reich, Ten Holt, Pärt, Satie, Tiersen, Einaudi, Preisner and many others.

Tracklist:

CD1
01. Continuum, Pianoconcerto No. 1, I
02. Continuum, Pianoconcerto No. 1, II
03. Continuum, Pianoconcerto No. 1, III
04. Continuum, Pianoconcerto No. 1, IV
05. Continuum, Pianoconcerto No. 1, V
06. Continuum, Pianoconcerto No. 1, VI
07. Continuum, Pianoconcerto No. 1, Applause
08. Minimal Prelude 50 for two Pianos

CD2
09. Incanto No. 2, Section 01
10. Incanto No. 2, Section 29
11. Incanto No. 2, Section ossia 36
12. Incanto No. 2, Section 36
13. Incanto No. 2, Section 44
14. Incanto No. 2, Section 46
15. Incanto No. 2, Section 63
16. Minimal Prelude 48

CD3
17. Ripalmania for 6 Pianos, I
18. Ripalmania for 6 Pianos, II
19. Ripalmania for 6 Pianos, III
20. Ripalmania for 6 Pianos, IV
21. Ripalmania for 6 Pianos, V
22. Ripalmania for 6 Pianos, VI
23. In Sea, for any Combination of Instruments

CD4
24. Minimal Prelude 41
25. Minimal Prelude 46
26. Minimal Prelude 47
27. Minimal Prelude 49 for Piano and Tape Delay
28. Minimal Prelude 51, Hotwax
29. Minimal Prelude 52, for Mike
30. Minimal Prelude 53

CD5
31. Minimal Prelude 58, for Luk Perceval
32. Minimal Prelude 54
33. Minimal Prelude 55
34. Minimal Prelude 56
35. Minimal Prelude for Two Rippen Grand Pianos and 6 Ebows
36. Almost Six o’Clock
37. Una corda

CD6
38. Velvet Piano, Looping I
39. Velvet Piano, Into Space
40. Velvet Piano, Intemite
41. Velvet Piano, Deepness
42. Velvet Piano, Looping II
43. Velvet Piano, in 5
44. Velvet Piano, Toy Piano
45. Velvet Piano, Rhythmical Pleasure
46. Velvet Piano, Looping III
47. Minimal Prelude 60, Tango for Organ

CD7
48. Ebow4two
49. Building
50. Inside Out
51. Muted String
52. Dreaming
53. Rocking
54. Back to f
55. Sambanova
56. Two Ways
57. On the Move
58. With a Little Help from my Piano

Please note: Tracks “17-47” are in 96kHz/24bit format.

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A century after his death on 25 March 1918, many harmonia mundi artists are eager to pay tribute to Claude Debussy, the magician of melody and timbre, the great ‘colourist’ and father of modern music. The musicians of the Jerusalem Quartet offer a new reading of his only String Quartet, in the logical coupling with its Ravelian counterpart: in some respects, the two works might seem like twins – and yet what differences there are between them!

The French label harmonia mundi has pulled out all the stops for the 2018 commemoration of the centenary of the death of Claude Debussy, by asking their “house” artists to record the works of the great French composer. Cultural ambassadors for Israel (not always an easy job), the Jerusalem Quartet was created in 1996 and quickly became known as one of the foremost ensembles of the genre, thanks to the power of their playing, the warmth of their performances, and a particularly dense and sensual instrumental colour. Their recordings – thirteen albums for the harmonia mundi label – regularly win awards and critical acclaim in the press. This new recording of the quartets by Debussy and Ravel (a now-classic pairing which seems to have decreed that the two bodies of work will be joined at the hip, even though their authors neither wanted nor observed such a kinship) clearly towers above an already-ample discography. Velvety sounds, dreamy poetry (a marvellous Andantino from Debussy’s Quartet), unbridled wildness and youthful energy are all brought into this subtly-treated party, where flowery sentiments mingle as in a novel by Marcel Proust. – François Hudry

Tracklist:
1. String Quartet In G Minor Op.10: I. Anime et tres decide
2. String Quartet In G Minor Op.10: II. Assez vif et bien rythme
3. String Quartet In G Minor Op.10: III. Andantino, doucement expressif
4. String Quartet In G Minor Op.10: IV. Tres modere – Tres mouvemente et avec passion
5. String Quartet In F Major: I. Allegro moderato
6. String Quartet In F Major: II. Assez vif – Tres rythme
7. String Quartet In F Major: III. Tres lent
8. String Quartet In F Major: IV. Vif et agite

Composers:
Debussy, Claude Achille (1862-1918)
Ravel, Maurice (1875-1937)

Download:

https://subyshare.com/4qcz4ih2fjv7/JerusalemQuartetDebussyRavelStringQuartets20182496.rar.html

The nicest thing anyone has ever – ever – said to Jo Hirabayashi, frontman of Jo Passed, is that his band’s debut album sounds like “fucked-up Beatles”. ‘Their Prime’, the full-length follow-up to Jo Passed’s two EPs, ‘Up’ and ‘Out’, does sound like fucked-up Beatles. It sounds like Lennon and McCartney discovered Can and Neu!, and maybe a little Sonic Youth and XTC along the way. It demonstrates that timeless knack for dreamy melodies – chord progressions that sound like they were created in a land far, far away. Lyrically, however, it’s imbued with a philosophical longing for answers to questions that have resurfaced for the first time since the explosion of counterculture in the late 1960s and early 1970s.

‘Their Prime’ is a record about identity and the loss of time that happens as a direct consequence of being in the city with nowhere to rent, no time outside of employment and no realistic expectations to live up to. It encompasses that fear of being beyond the glory years, the most creatively fruitful period of one’s life. Those years were lost to contemporary struggles for working relationships, home, identity and space. “It’s me owning my worst nightmare,” he admits. “A lot of the Jo Passed project has been about confronting fears. I was afraid to move away from Vancouver to Montreal on my own. Afraid to leave musical relationships I had. Afraid to bear the full responsibility of a project. Being open about those fears is a good way of dealing with them. You end up at this point where you hit 30 and you’re like, ‘Oh what happened? Am I done? Did I not activate my main creative energy?’ It’s a ridiculous idea but 30 feels a little like 1000 in rock n roll terms.” You can hear the frustrations and the jitters in the crashing loud-and-quiet motifs throughout the album’s twelve tracks, which offer up a patchwork quilt of sound, similar to Faust’s IV or Fugazi’s Red Medicine.

Jo Passed originally consisted of Jo and his friend and drummer Mac Lawrie. The two moved to Montreal together, and toured the far-right corner of North America. After Jo’s return to Vancouver, multi-instrumentalist Bella Bébé joined the band in January of 2016, and multimedia artist Megan-Magdalena Bourne joined on bass, after working on a video for the song “Rage” (from Jo Passed’s ‘Out’ EP).

Having worked with Bella, Mac, and Megan to create the live experience of ‘Their Prime’, it’s touring and hearing people’s reactions to the album that are at the forefront of Jo’s mind. “It’s like I’ve put all my negativity into a place and now I’m lighting it on fire as a way of releasing it… by putting it out on Sub Pop, ha!” Indeed, sometimes you have to banish the bad vibes to get to the great ones.

Tracklist:
1. Left
2. MDM
3. Glass
4. Undemo
5. Facetook
6. Repair
7. R.I.P.
8. Millenial Trash Blues
9. You, Prime
10. Sold
11. Another Nowhere
12. Places Please

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https://subyshare.com/bpzt9vjyavqr/J0PassedTheirPrime20182444.1.rar.html

Love and peace. The program of this album by Joachim Kühn has the merit to be clear. With drummer Eric Schaefer and double bass player Chris Jennings, his trio formed in 2015, the German pianist, now 73, seems to have found a new playground in which the strength of his melodies proves central. Rather labelled as an avant-gardist—or even free—musician, Kühn, who has always rejected conventions throughout his extended career, is of course not sinking here into simplistic and plain music. Quite the contrary. Through rather concise themes, mostly original, aside from pieces from the Doors (The Crystal Ship), Mussorgsky (The old castle from Pictures at an exhibition) and Ornette Coleman (Night Plans), he lightens his improvisations and takes the time to play with space and even with silences. Released in 2016, Beauty & Truth, the first disc from the trio, already let you hear this somewhat uncommon Kühn. With Love & Peace, he found an inner peace which makes his music even more moving.

Tracklist:
01. Love and Peace
02. Le Vieux Chateau
03. The Crystal Ship
04. Mustang
05. Barcelona-Wien
06. But Strokes of Folk
07. Lied Ohne Worte No. 2
08. Casbah Radio
09. Night Plans
10. New Pharoah
11. Phrasen

Personnel:
Joachim Kühn, piano
Chris Jennings, bass
Eric Schaefer, drums

Recorded May 15 & 16, 2017 by Gérard de Haro at Studios La Buissonne, France
Mixed by Gérard de Haro
Mastered by Klaus Scheuermann
Produced by Joachim Kühn

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https://subyshare.com/khy4deflzorr/J0achimKhnL0vePeace20182488.2.rar.html

The first recording on Challenge Classics by the wonderful Dutch baroque orchestra, La Sfera Armoniosa. For its debut, La Sfera Armoniosa and its artistic director Mike Febtross have chosen orchestral music and arias from operas by Henry Purcell. Well-known baroque specialist, soprano Johannette Zomer joins the orchestra in this live recording.

La Sfera Armoniosa, founded in 1992, is a Dutch Baroque ensemble and orchestra specialized in the performance of music from the seventeenth and eighteenth century.

Mike Fentross: I was really moved when I heard my orchestra play the opening bars of the Purcell. I heard a sound that was quite different to what I knew from other present-day baroque orchestras. Was this sound closer to that of Purcell’s own orchestra, a sound that he may have had in mind when composing this wondrous music? In the very first chat I had about this project with Lidewij van der Voort, our new concertmaster, we talked about the modern adaptations that are often (and understandably) applied to baroque instruments nowadays, and about the possibility of going back to authentic strings (completely bare gut) and a 17th century bow hold (the French grip) for this Purcell project. As it happens, I’d had a similar conversation not long before that with Lidewei de Sterck, our principal oboist, about authentic reeds (scraped from the inside) and with Graham Nicholson, about 17th century trumpets (natural trumpets with no finger holes). These aspects, seemingly just details, have a major impact not just on the sound but also the way of playing and therefore on the way we interpret the music. We all felt the need to record this CD with these ‘experimental’ instruments. An orchestral sound with so much transparency and colour, a way of playing with such narrative power! I’m full of admiration for the musicians who played so beautifully and who were prepared to take up the challenge of moving away from a well-trodden path.

Tracklist:
01. The Prophetess: or, The History of Dioclesian, Z. 627: Symphony for Trumpets and Violins (Live Recording)
02. The Prophetess: or, The History of Dioclesian, Z. 627: First Music (Live Recording)
03. The Prophetess: or, The History of Dioclesian, Z. 627: What Shall I Do to Show Her How Much I Love Her (Live Recording)
04. The Prophetess: or, The History of Dioclesian, Z. 627: Butterfly Dance (Live Recording)
05. The Prophetess: or, The History of Dioclesian, Z. 627: Dance of Furies (Live Recording)
06. The Prophetess: or, The History of Dioclesian, Z. 627: Since from My Dear (Live Recording)
07. The Prophetess: or, The History of Dioclesian, Z. 627: Tune for Trumpets (Live Recording)
08. The Prophetess: or, The History of Dioclesian, Z. 627: Canaries (Live Recording)
09. The Indian Queen, Z.630: Air (Live Recording)
10. The Indian Queen, Z. 630: I Attempt from Love’s Sickness (Live Recording)
11. The Indian Queen, Z. 630: Hornpipe (Live Recording)
12. King Arthur, Z. 628: Overture (Live Recording)
13. King Arthur, Z. 628: First Act Tune (Live Recording)
14. King Arthur, Z. 628: Hornpipe (Live Recording)
15. King Arthur, Z. 628: Fairest Isle (Live Recording)
16. King Arthur, Z. 628: Trumpet Tune (Live Recording)
17. King Arthur, Z. 628: St. George, The Patron of Our Isle (Live Recording)
18. King Arthur, Z. 628: Chaconne (Live Recording)
19. The Fairy Queen, Z. 629: Preludio (Live Recording)
20. The Fairy Queen, Z. 629: Hornpipe (Live Recording)
21. The Fairy Queen, Z. 629: Air (Live Recording)
22. The Fairy Queen, Z. 629: Rondeau (Live Recording)
23. The Fairy Queen, Z. 629: Symphony While the Swans Come Forward (Live Recording)
24. The Fairy Queen, Z. 629: If Love’s a Sweet Passion (Live Recording)
25. The Fairy Queen, Z. 629: Symphony: Prelude, Canzona, Largo, Allegro, Adagio, Allegro (Live Recording)
26. The Fairy Queen, Z. 629: Ye Gentle Spirits of the Air (Live Recording)
27. The Fairy Queen, Z. 629: Dance for the Followers Night (Live Recording)
28. The Fairy Queen, Z. 629: See Even Night Herself Is Here (Live Recording)
29. The Fairy Queen, Z. 629: Air II (Live Recording)
30. The Fairy Queen, Z. 629: Hark! The Echoing Air (Live Recording)
31. The Fairy Queen, Z. 629: Grand Dance (Live Recording)

Personnel:
Johannette Zomer, soprano
La Sfera Armoniosa
Mike Fentross, conductor

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https://subyshare.com/gcj6d55b87ym/J0hannetteZ0merSymph0nyWhiletheSwansC0meF0rwardLiveRec0rding20182444.1.rar.html

Jonny Greenwood is reissuing his 2003 soundtrack album Bodysong in a digitally remastered version. The LP consists of music the Radiohead multi-instrumentalist and composer wrote for Simon Pummell’s 2003 documentary of the same name. The album, famously, featured a track that was later incorporated into Greenwood’s breakout score for 2007’s There Will Be Blood. Unlike that soundtrack, Bodysong features a wide sound and stylistic palette, incorporating electronic elements. Greenwood’s brother and fellow Radiohead member Colin Greenwood also plays on the album. The reissued album will come out in gatefold vinyl and CD editions on May 18.

Tracklist:
1. Moon Trills 05:18
2. Moon Mall 01:11
3. Trench0 2:39
4. Iron Swallow 02:09
5. Clockwork Tin Soldiers 03:49
6. Convergence 04:26
7. Nudnik Headache 02:16
8. Peartree 03:06
9. Splitter 03:57
10. Bode Radio / Glass Light / Broken Hearts 04:36
11. 24 Hour Charleston 02:39
12. Milky Drops from Heaven 04:44
13. Tehellet 03:37

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https://subyshare.com/x4jqj81uzigd/J0nnyGreenw00dB0dys0ng.Remastered200320182444.1.rar.html

Transmission and legacy are at the heart of jazz. Even in the more radical moments, or even the revolutionary ones, jazz musicians have always, one way or another, paid tribute to their elders. With Still Dreaming, Joshua Redman only confirms that. With trumpet player Ron Miles, bass player Scott Colley and drummer Brian Blade, the saxophonist drives a quartet which pays homage to Old and New Dreams, a band carried between 1975 and 1987 by his late father, the saxophonist Dewey Redman. A formation then composed of double bass player Charlie Haden, trumpet player Don Cherry and drummer Ed Blackwell, all former bodyguards of Ornette Coleman… But if this story about transmission and legacy is at the heart of the music of Joshua Redman and his friends, everything here is all invention and creation. These four don’t intend to take us to the museum! Even when they reinterpret compositions such as Charlie Haden’s Playing or Ornette Coleman’s Comme il faut and The Rest, their approach isn’t some kind of basic sanctification. On the contrary! We are here in the presence of four virtuoso, each being among the best in their area. As for Redman, he has rarely played that well. He’s often economic in his play. His breath, never wordy, is the one of almost mystical incantations that Colley’s and Blade’s rhythms make even more majestic. And then there is Brian Blade, this drummer performing with feathers in his hands. He’s an impressive colorist who radiates on everything he touches… In short, this is a masterful disc for sophisticated ears. – Marc Zisman

Tracklist:
1. New Year (feat. Ron Miles, Scott Colley & Brian Blade) 06:37
2. Unanimity (feat. Ron Miles, Scott Colley & Brian Blade) 05:09
3. Haze And Aspirations (feat. Ron Miles, Scott Colley & Brian Blade) 05:58
4. It’s Not The Same (feat. Ron Miles, Scott Colley & Brian Blade) 02:46
5. Blues For Charlie (feat. Ron Miles, Scott Colley & Brian Blade) 06:50
6. Playing (feat. Ron Miles, Scott Colley & Brian Blade) 03:17
7. Comme Il Faut (feat. Ron Miles, Scott Colley & Brian Blade) 03:27
8. The Rest (feat. Ron Miles, Scott Colley & Brian Blade) 05:56

Personnel:
Joshua Redman (saxophone)
Ron Miles (trumpet)
Scott Colley (bass)
Brian Blade (drums)

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https://subyshare.com/e9zzo25lpt67/J0shuaRedmanStillDreamingfeat.R0nMilesSc0ttC0lleyBrianBlade2496.rar.html

Two of the world’s leading string soloists have teamed up for Orfeo’s Duo Sessions, and their virtuosity and musicianship carry this 2016 album, even though the CD consists of relatively unfamiliar material. Violinist Julia Fischer and cellist Daniel Müller-Schott have performed as a duo over a period of ten years, and they have established a rapport that is evident in their musical interests and their ability to communicate on the same high level. Here they play four works that test their remarkable abilities and give them considerable room for expression, but the pieces themselves seem to have languished in that special obscurity reserved for much modern chamber music. These works are rarely programmed, no doubt because of the relative scarcity of violin-cello duos, and only Maurice Ravel’s Sonata for violin and cello has a firm place in the repertoire. Yet the pieces by Zoltán Kodály, Erwin Schulhoff, and Johan Halvorsen are certainly accessible and attractive, and these compelling performances will give them a higher profile. Fischer and Müller-Schott are most familiar to listeners in their roles as concerto soloists, though this tête-à-tête shows a new side that their fans will appreciate just as much.

Tracklist:
01. Kodaly: Duo for Violin & Cello, Op. 7: I. Allegro serioso, non troppo
02. Kodaly: Duo for Violin & Cello, Op. 7: II. Adagio
03. Kodaly: Duo for Violin & Cello, Op. 7: III. Maestoso e largamente, ma non troppo lento
04. Schulhoff: Duo for Violin & Cello: I. Moderato
05. Schulhoff: Duo for Violin & Cello: II. Zingaresca: Allegro giocoso
06. Schulhoff: Duo for Violin & Cello: III. Andantino
07. Schulhoff: Duo for Violin & Cello: IV. Moderato
08. Ravel: Sonata for Violin & Cello, M. 73: I. Allegro
09. Ravel: Sonata for Violin & Cello, M. 73: II. Tres vif
10. Ravel: Sonata for Violin & Cello, M. 73: III. Lent
11. Ravel: Sonata for Violin & Cello, M. 73: IV. Vif, avec entrain

Personnel:
Julia Fischer, violin
Daniel Müller-Schott, cello

Download:

https://subyshare.com/nt32n1mjybsp/JuliaFischerDanielMllerSch0ttDu0Sessi0ns20162444.1.rar.html

Glenn Gould, whose talents as an agitator and showman are well known, didn’t hesitate to declare himself “firmly convinced that Das Marienleben, in its original form [because there exists a revised version made around twenty years after the first – SM], was the greatest song cycle ever composed.” That should be taken with a pinch of salt, of course, but one can’t ignore a statement like that. Taking words by Rilke, Hindemith set to work putting them to music between June 1922 and July 1923. The dates are significant because they marked a fundamental turning point for the composer: the move from expressionism to “New Objectivity”, a very Germanic movement which sought to erase the slightest trace of postromanticism by developing a pared-down and less emotive language. That said, in musical terms, it is all rather more fluid than in painting. However, throughout the seventy-odd minutes of this cycle, Hindemith moves constantly from one to the other, as its fifteen pieces were written in no particular order: the oldest are the eleventh and the fifteenth; the last ones to be written are the thirteenth and fourteenth. Knowing Hindemith, of course, one might think that he could never resist an emotional charge, even when set firmly in his rigorous counter-punctual language. Note that Juliane Banse and Martin Helmchen have chosen to record the 1922-23 version, and not the revision of 1936-48 – and so we’re listening to Gould’s favourite version.

Tracklist:
1. Das Marienleben, Op. 27: Geburt Mariä 03:24
2. Das Marienleben, Op. 27: Die Darstellung Mariä im Tempel 09:09
3. Das Marienleben, Op. 27: Mariä Verkündigung 04:13
4. Das Marienleben, Op. 27: Mariä Heimsuchung 02:45
5. Das Marienleben, Op. 27: Argwohn Josephs 01:43
6. Das Marienleben, Op. 27: Verkündigung über den Hirten 05:12
7. Das Marienleben, Op. 27: Geburt Christi 03:34
8. Das Marienleben, Op. 27: Rast auf der Flucht in Ägypten 03:45
9. Das Marienleben, Op. 27: Von der Hochzeit zu Kana 04:37
10. Das Marienleben, Op. 27: Vor der Passion 06:55
11. Das Marienleben, Op. 27: Pietà 03:15
12. Das Marienleben, Op. 27: Stillung Mariä mit dem Auferstandenen 02:23
13. Das Marienleben, Op. 27: Vom Tode Mariä I 08:53
14. Das Marienleben, Op. 27: Vom Tode Mariä II 07:18
15. Das Marienleben, Op. 27: Vom Tode Mariä III 03:32

Personnel:
Juliane Banse, soprano
Martin Helmchen, piano

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https://subyshare.com/5mq1zee7yx78/JulianeBanseMartinHelmchenHindemithDasMarienleben0p.2720182496.part1.rar.html
https://subyshare.com/5q09pax89mvo/JulianeBanseMartinHelmchenHindemithDasMarienleben0p.2720182496.part2.rar.html

It was when he heard a harpsichordist playing for the students at the university in his home town of Angers that Justin Taylor first discovered this instrument and its intriguing sound. He split his time between the piano and a harpsichord apprenticeship that he took with Olivier Beaumont and Blandine Rannou, also following masterclasses from Skip Sempé and Pierre Hantaï. What followed was a modern fairytale. The young man made furious progress, swiftly becoming a poster boy for the French harpsichord, winning the Bruges Competition and being named the musical “Revelation” of 2017, at the age of 23. A first album, dedicated to the Family Forqueray (Alpha, Qobuzissime) was showered in plaudits and soon followed by a number of concerts at prestigious festivals, which seem not to have remotely changed this young Franco-American. For his second project with Alpha Classics, Justin Taylor deftly blends Scarlatti with Ligeti, a composer he knows well, having played his formidable Continuum at the admission competition for the Conservatoire de Paris (CNSMD). In this new album, Scarlatti’s harmonic daring joins a György Ligeti fascinated by the work of his distant Neapolitan colleague. The result is a real firework, lit and aimed by ten fingers which are as intelligent as they are fiendish – this artist is absolutely one to watch. – François Hudry

Tracklist:
1. Sonata in D Minor, K.141 (Allegro) 03:48
2. Sonata in D Minor, K.32 (Aria) 02:19
3. Sonata in C Minor, K.115 (Allegro) 06:01
4. Passacaglia ungherese 04:37
5. Sonata in D Minor, K.18 (Presto) 03:52
6. Sonata in A Major, K.208 (Adagio e cantabile) 04:54
7. Sonata in A Minor, K.175 (Allegro) 03:40
8. Hungarian Rock (Chaconne) 05:07
9. Sonata in D Major, K.492 (Presto) 03:44
10. Sonata in B Minor, K.27 (Allegro) 03:23
11. Sonata in D Minor, K.213 (Andante) 09:14
12. Sonata in F Minor, K.239 (Allegro) 03:10
13. Sonata in F Minor, K.519 (Allegro Assai) 02:54
14. Continuum 04:26
15 .Sonata in F Minor, K.481 (Andante e cantabile) 08:00

Composers:
Ligeti, György (1923-2006)
Scarlatti, Domenico (1685-1757)

Personnel:
Justin Taylor (harpsichord)

Download:

https://subyshare.com/z0fgpq7c7puv/JustinTayl0rC0ntinuumScarlattiLigeti201824192.part1.rar.html
https://subyshare.com/0pmyqvyi7sls/JustinTayl0rC0ntinuumScarlattiLigeti201824192.part2.rar.html
https://subyshare.com/4mtd8xpdb4pq/JustinTayl0rC0ntinuumScarlattiLigeti201824192.part3.rar.html

“January” is a strong musical statement from a still-young band with a long history already behind it, and an album with an exceptionally wide-ranging programme – all of it played with assurance, purpose and focus. The disc reconfirms that the trio of Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz is one of the most outstanding contemporary jazz groups.

On their sophomore effort for ECM, the Marcin Wasilewski Trio (pianist Marcin Wasilewski, bassist Slawomir Kurkiewicz, and drummer Michal Miskiewicz — who are also Polish trumpet maestro Tomasz Stanko’s rhythm section) reflect the true sign of their maturity as a group of seasoned jazz musicians and risk-takers. Their debut album, simply called Trio, merely reflected to American and Western European audiences the wealth of talent, vision, and discipline that Polish and Eastern Europe’s audiences had known for over a decade. (The group recorded five previous albums in its native country between 1993 and 2004.) They came together in 1991 as teenagers: Wasilewski and Kurkiewicz were only 16 and had already been playing together for a year when they met up with Miskiewicz. In 1993 they began playing behind Stanko, and eventually became his recording group as well. They were first heard on his 2001 album The Soul of Things, as well as his subsequent ECM outings, Suspended Night and Lontano. But all of this is history and history only. It doesn’t begin to tell of the magic and mystery found in this beautiful album. There are four Wasilewski compositions in this ten-cut set. They range from the lovely songlike opener, “The First Touch,” with its romantic melody that suggests Bill Evans’ late “Song for Evan” period, as well as elliptical European improvisers like Bobo Stenson. But it’s that inherent sense of dimension and space that is in all the best Polish jazz that makes this is such a stellar tune. The utterly lyrical brush and cymbal work by Miskiewicz and present yet uncluttered bassline of Kurkiewicz allow the full range of Wasilewski’s reach from melodic invention to gently ambiguous modal exploration to come to the fore. The group’s reading of Ennio Morricone’s “Cinema Paradiso” underscores the deep and inseparable relationship between Polish jazz and the cinema that has existed since the collaborations between director Roman Polanski and Stanko’s first boss, pianist and composer Krzysztof Komeda. The sense of dynamic that the trio goes for on this piece is perhaps less forcefully pronounced than the composer’s, but it is almost a reading of its other side, where the brooding aspects of the original give way to something fuller and more picaresque, while allowing its sense of nostalgia and memory free rein inside the narrative of the tune.

This is followed by one of the set’s true highlights, a killer jazz reading of Prince’s “Diamonds and Pearls,” led by a tough little three-note bass intro by Kurkiewicz; he proceeds to underscore every note in the melody with a fill. It’s difficult to know for the first couple of minutes exactly what the trio is getting at here, but just before the extrapolation of the harmony and its inversion it becomes clear and it gains a more aurally recognizable quality. The tune is soulful and romantic, and contains all of the inherent lyricism that Prince employs in its chord structure, adding just a little of jazz’s sense of adventure in the final third of the tune and wrapping it all together into something new. This is a worthy interpretation if there ever was one. Interestingly, the trio tackles some tunes by ECM standard-bearers as well. There are innovative, challenging, and very fresh-sounding versions of Gary Peacock’s “Vignette,” Carla Bley’s “King Korn” (which retains all of its knotty humor and then adds some of its own), and Stanko’s gorgeous and enduring “Balladyna”– the title cut from his own ECM debut back in the 1970s. Three longer Wasilewski compositions — “The Cat,” the title track, and another crack at the relationship between Polish film and jazz in “The Young and the Cinema” — dominate the second half of the record by giving the band a chance to really stretch and fly. All of these tunes, but particularly the last one, reveal the trio members’ ability to swing effortlessly together no matter how complex the music gets as it moves from post-bop to angular impressionistic jazz. The final cut is a muted improvisation that is, if anything, all too brief. This is terrific second effort by a band that, despite the fact that its members have been together for 17 years, is only really coming into its own in the present moment.

Tracklist:
01 – The First Touch
02 – Vignette
03 – Cinema Paradiso
04 – Diamonds and Pearls
05 – Balladyna
06 – King Korn
07 – The Cat
08 – January
09 – The Young and Cinema
10 – New York 2007

Musicians:
Marcin Wasilewski – piano
Slawomir Kurkiewicz – double-bass
Michal Miskiewicz – drums

Download:

https://subyshare.com/42r8bhzjth6i/MarcinWasil3wskiSlawomirKurki3wiczMichalMiski3wiczJanuary2008Gub3music24441.rar.html

Guillaume Perret & The Electric Epic – Open Me (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 47:55 minutes | 548 MB
Official Digital Download – Source: Qobuz | Digital booklet
Experimental / Progressive / Avant-garde / volcanic eruption

Guillaume Perret & The Electric Epic is a French jazz fusion band, founded in 2008 by composer and sax player Guillaume Perret. “Open Me” is the quartet’s third full-lenght album.

At the helm of his cyber-tenor sax driven by a floor pedal, Guillaume Perret Electric Epic captain of his Quartet, transports us into a stunning visual and aural spectacle. The confines of a multisensory universe made of frenzied improvisations and striking reminders, near a jazz universe transgender exhilarating influences master New York John Zorn are felt…

Tracklist:
01 – Opening
02 – Shoebox
03 – Brutalum Voluptuous (voice: Sir Alice)
04 – Irma’s Room
05 – Mamuth
06 – Doors
07 – Ponk
08 – Coma (voice: Monica Vannier)

Musicians:
Guillaume Perret – electrical saxophones, effects, management and composition
Phillipe Bussonnet – low
Jim Grandcamp – guitar
Yoann Serra – drums, sampler, machinery

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https://subyshare.com/ti9wj08zstmk/GuillaumePerretTheElectricEpic0penMe2014Q0buz24441.rar.html

Mathias Landæus Trio – Opening (2010)
FLAC (tracks) 24-bit/176,4 kHz | Time – 56:15 minutes | 1,95 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: e-Onkyo.com | Digital booklet

One of the burgeoning Swedish jazz musicians, pianist and composer Mathias Landæus plays intelligent, hard hitting jazz with a dose of humor. Landaeus was born in Sweden in 1969, and was initially influenced by Bill Evans, Swedish folk music, Weather Report, and the occasional jazz musicians he saw traveling through the area.

This recording is absolutely exceptional and quickly became one of my references. The effort that Todd Garfinkle puts into the recording process is apparent as soon as you hear the first note being played. There is a truly stunning sense of space and natural instrumental decay that transports you to the recording venue. The music is very engaging as well, unlike so many other “audiophile” recordings which have content that is often musically not up to the standards of the recording. If you have a DAC that supports the 24 bit/176.4 kHz format you really have to hear this title in all its glory. It is well worth the asking price to hear such excellent music so well performed and recorded, to be able to appreciate the level of sonic performance that your system is actually capable of reproducing.

Tracklist:
01 – Opening Song
02 – Hoghusshommar
03 – What a Wonderul World
04 – Boy Cow
05 – Angela`s Place
06 – Strip Comic
07 – Can`t Help Falling in Love
08 – Family Tree
09 – Perfect Harmony
10 – 23 and Waiting
11 – Surroundings

Recorded by Todd Garfinkle, MA Recordings.

Musicians:
– Mathias Landæus: Hamburg Steinway Concert Grand Piano
– Palle Danielsson: Acoustic Bass
– Jon Fält: Drums

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https://subyshare.com/0skulp7nd0t2/MathiasLandaeusTri00pening2010e0nky0241764.part1.rar.html
https://subyshare.com/kwnomwwjm3o5/MathiasLandaeusTri00pening2010e0nky0241764.part2.rar.html

In 2016, Alex Turner received a piano for his 30th birthday and started playing seriously for the first time in over 20 years. Songs for Arctic Monkeys’ sixth album eventually emerged—a collection of brooding, cosmic lounge-pop that’s typical of the band only in its disdain for playing it safe. Here, light-years from their previous riff-driven adventures, melodies unspool slowly but stick faster with every listen. A watering hole on the moon provides the conceptual framework for Turner to muse on life, pop culture, and technology with heavy-lidded introspection. “I need to spend less time stood around in bars/Waffling on to strangers about martial arts,” he sighs on “She Looks Like Fun.” He shouldn’t be hasty: Wherever he finds inspiration, it takes his band to daring new places.

It was inevitable that Alex Turner would incorporate the loungey swagger of his busman’s holiday the Last Shadow Puppets into his main gig of the Arctic Monkeys, yet the soft louche touch of Tranquility Base Hotel & Casino comes as something of a shock. Chalk it up, perhaps, to the fact that Turner was a mere 32 years old when he unleashed Tranquility Base Hotel & Casino onto the world, a young age that seems older because Arctic Monkeys released their debut when he was just 19. Throughout Tranquility Base, Turner comes across as if he were much, much older than his actual age, cocking an eyebrow to a potential paramour who has the audacity to have never seen Blade Runner, and reminiscing about the ’70s — a decade he never saw. He may have been born at the height of Brothers in Arms, but Turner fetishes the swinging sci-fi ’60s, winking at futurism while acknowledging that its starry potential has curdled in the digital age. Tranquility Base hints at these dashed dreams in its stylish soft contours, which are neither retro nor modern: they’re hung suspended between these two extremes, sounding precisely like Alex Turner while never touching upon the frenzied, heavy roar of the Monkeys. Perhaps it’s easy to miss that youthful punchiness, but the expansive aural horizons of Tranquility Base Hotel & Casino suggest there are plenty of avenues for Turner to steer Arctic Monkeys into a fruitful middle age. So, it’s an accomplished, slyly snappy, and admirable affair, and yet there still seems to be something lacking — namely, songs that stick. Turner nails the concept, wallowing in warped dreams and painting widescreen soundscapes, but the foundation is wobbly; at a glance, it’s impressive, but the slipshod details reveal themselves upon close inspection.

Tracklist:
01. Star Treatment (05:54)
02. One Point Perspective (03:28)
03. American Sports (02:38)
04. Tranquility Base Hotel & Casino (03:31)
05. Golden Trunks (02:53)
06. Four out of Five (05:12)
07. The World’s First Ever Monster Truck Front Flip (03:00)
08. Science Fiction (03:05)
09. She Looks Like Fun (03:02)
10. Batphone (04:31)
11. The Ultracheese (03:37)

Download:

https://subyshare.com/3ilwg5lj37en/ArcticM0nkeysTranquilityBaseH0telCasin02018Q0buz2448.rar.html

Arctic Monkeys release their fifth album, entitled AM. AM was produced by James Ford and co-produced by Ross Orton at Sage & Sound Recording, LA and Rancho De La Luna, Joshua Tree. The album was engineered by Ian Shea and mixed by Tchad Blake. Josh Homme, Pete Thomas and Bill Ryder-Jones all make guest appearances on AM as do the words of John Cooper Clarke, on the track “I Wanna Be Yours”.

If Arctic Monkeys launched a tentative retreat on Suck It & See, their first effort after being seduced by Josh Homme, the group once again forge ahead into bold new territory on AM, their fifth album. Neatly splitting the difference between the band’s two personalities — the devotees of barbed British pop and disciples of curdled heavy rock — AM consolidates Arctic Monkeys strengths, a tricky task in and of itself, but the band pushes further, incorporating unapologetic glam stomps, fuzzy guitars, and a decidedly strong rhythmic undercurrent. At times, AM pulses to a distinctly danceable rhythm — “Fireplace” percolates while “Why Do You Only Call Me When You’re High” simmers and “Knee Socks” nearly rivals Franz Ferdinand in disco rock — but this isn’t an album made for nights out; it’s a soundtrack for nights in. Too much of Alex Turner’s mind is preoccupied with love gone wrong, jealousy, and general misanthropy, so even when he’s singing about a “No. 1 Party Anthem,” he’s doing so with a nearly visible sneer. Such an undercurrent of cynicism makes AM an ideal album to listen to under the cover of darkness, but due to the Arctic Monkeys’ muscular wallop and musical restlessness, it never feels like the band is wallowing in bleakness. Instead, this is vibrant, moody music that showcases a band growing ever stronger with each risk and dare they take.

Tracklist:

1. Arctic Monkeys – Do I Wanna Know? [04:32]
2. Arctic Monkeys – R U Mine? [03:21]
3. Arctic Monkeys – One For The Road [03:26]
4. Arctic Monkeys – Arabella [03:27]
5. Arctic Monkeys – I Want It All [03:04]
6. Arctic Monkeys – No. 1 Party Anthem [04:03]
7. Arctic Monkeys – Mad Sounds [03:35]
8. Arctic Monkeys – Fireside [03:01]
9. Arctic Monkeys – Why’d You Only Call Me When You’re High?[02:41]
10. Arctic Monkeys – Snap Out Of It [03:12]
11. Arctic Monkeys – Knee Socks [04:17]
12. Arctic Monkeys – I Wanna Be Yours [03:04]

Download:

https://subyshare.com/b8dmm4x07mcw/ArcticMonkeysAM2013Qubuz24441.rar.html

Chart topping singer/songwriter Bebe Rexha will release her highly anticipated debut album, EXPECTATIONS via Warner Bros. Records. In addition to Bebe co-writing and co-producing every song on the album, EXPECTATIONS is also produced by Max Martin, Ali Payami, JUSSI, Jason Evigan, Louis Bell, The Stereotypes and Hit-Boy.

Tracklist:
1. Ferrari 03:32
2. I’m a Mess 03:15
3. 2 Souls on Fire (feat. Quavo) 02:50
4. Shining Star 03:06
5. Knees 03:26
6. I Got You 03:11
7. Self Control 02:54
8. Sad 03:05
9. Mine 02:51
10. Steady (feat. Tory Lanez) 03:14
11. Don’t Get Any Closer 02:48
12. Grace 03:16
13. Pillow 03:36
14. Meant to Be 02:43

Download:

https://subyshare.com/xioh9cjn3rrg/BebeRexhaExpectati0ns20182444.1.rar.html

Glasgow 3 piece CHVRCHES return with their third studio album Love Is Dead. Featuring the incredible new single ‘Get Out’ along with ‘My Enemy’ a special collaboration with Matt Berninger of ‘The National’, this 13 track album showcases a band at the top of their game.

Chvrches influenced mainstream pop with The Bones of What You Believe and Every Open Eye, and on Love Is Dead, mainstream pop returns the favor. As distinctive as their heartfelt electro-pop is — and how well they do it — Lauren Mayberry, Iain Cook, and Martin Doherty recognized they needed some variety on their third album. Instead of self-producing Love Is Dead, they opened their creative process to collaborators who reflect the roots of their sound as well as its place in the 2010s. Dave Stewart, whose mastery of emotive synth pop stretches back to his Eurythmics days, served as Chvrches’ mentor, while Greg Kurstin, who’s straddled the line between alternative and mainstream pop since the ’90s, co-wrote and co-produced many of the album’s tracks. Not surprisingly, this is the band’s biggest-sounding album yet, and the stakes in their songs have never sounded higher. Love Is Dead lives up to its dramatic title, delivering anthems about seizing the moment in the face of loss; on songs like “Wonderland,” the contrast between their dark lyrics and neon sounds is especially sharp. Similarly, the album’s glossy production provides the perfect foil for Lauren Mayberry’s vocals, which haven’t sounded this direct or empathetic since The Bones of What You Believe. The way she sings “I’ve been waiting for my whole life to grow old/And now we never will” on “Graffiti” deftly blends heartache and joy, while “Deliverance” reaffirms that she’s second to none at holding the subjects of her songs accountable for their actions. She sells many of Love Is Dead’s poppiest moments, adding an extra dash of charisma to “Forever” and “Graves,” both of which find Chvrches dancing on their troubles with a few new moves. However, not all of their changes are this successful. As they widen and narrow their sound, their music suffers when they go too far to one extreme or the other. Compared to its poignant verses, “Get Out”‘s choruses are massive but thin, and “Miracle”‘s distorted vocals and stomping beats are late-2010s pop trends that make Chvrches sound interchangeable with too many other acts. Conversely, the interlude “ii” feels like an unnecessary bid for artistic credibility, and when Mayberry isn’t the focus (as on “God’s Plan” and the Matt Berninger duet “My Enemy”) the album loses momentum. Fortunately, “Really Gone” — which is so affecting that it should have been the closing track — provides a better respite from Love Is Dead’s pop anthems. Meanwhile, “Heaven/Hell” cleverly questions what is real and what is fake, a pointed topic for a group that blurs the boundaries between indie cred and pop accessibility as skillfully as this one does. The few stumbles that the band makes on Love Is Dead are almost refreshing; they reaffirm that Chvrches aren’t androids designed to craft perfect synth pop. Indeed, the most impressive thing about the album might be that as big as its sound gets, the band never loses touch with the humanity that’s at the core of their music.

Tracklist:
1. Graffiti (03:38)
2. Get Out (03:51)
3. Deliverance (04:12)
4. My Enemy (feat. Matt Berninger) (03:53)
5. Forever (03:44)
6. Never Say Die (04:23)
7. Miracle (03:08)
8. Graves (04:43)
9. Heaven/Hell (05:05)
10. God’s Plan (03:31)
11. Really Gone (03:11)
12. ii (01:09)
13. Wonderland (04:35)

Download:

https://subyshare.com/rq0u72qjllww/CHVRCHESL0veIsDead2018HDTracks2444.1.rar.html

Hiromi – Another Mind (2003/2018) [Official Digital Download 24bit/192kHz]

Houston Symphony Orchestra & Andres Orozco-Estrada – Haydn: The Creation (2018) [Official Digital Download 24bit/96kHz]

Huw Wiggin & John Lenehan – Reflections (2018) [Official Digital Download 24bit/96kHz]

Jeroen van Veen – Van Veen: Piano Music, Vol. 2 (2018) [Official Digital Download 24bit/48kHz]

Jerusalem Quartet – Debussy & Ravel: String Quartets (2018) [Official Digital Download 24bit/96kHz]

Jo Passed – Their Prime (2018) [Official Digital Download 24bit/44,1kHz]

Joachim Kuhn – Love & Peace (2018) [Official Digital Download 24bit/88,2kHz]

Johannette Zomer – Symphony While the Swans Come Forward (Live Recording) (2018) [Official Digital Download 24bit/44,1kHz]

Jonny Greenwood – Bodysong. (Remastered) (2003/2018) [Official Digital Download 24bit/44,1kHz]

Joshua Redman – Still Dreaming (feat. Ron Miles, Scott Colley & Brian Blade) (2018) [Official Digital Download 24bit/96kHz]

Julia Fischer & Daniel Muller-Schott – Duo Sessions (2016) [Official Digital Download 24bit/44,1kHz]

Juliane Banse & Martin Helmchen – Hindemith: Das Marienleben, Op. 27 (2018) [Official Digital Download 24bit/96kHz]

Justin Taylor – Continuum (Scarlatti – Ligeti) (2018) [Official Digital Download 24bit/192kHz]

Marcin Wasilewski, Slawomir Kurkiewicz & Michal Miskiewicz – January (2008) [Official Digital Download 24bit/44,1kHz]

Guillaume Perret & The Electric Epic – Open Me (2014) [Official Digital Download 24bit/44,1kHz]

Mathias Landaeus Trio – Opening (2010) [Official Digital Download 24bit/176,4kHz]

Arctic Monkeys – Tranquility Base Hotel + Casino (2018) [Official Digital Download 24bit/48kHz]

Arctic Monkeys – AM (2013) [Official Digital Download 24bit/44,1kHz]

Bebe Rexha – Expectations (2018) [Official Digital Download 24bit/44,1kHz]

CHVRCHES – Love Is Dead (2018) [Official Digital Download 24bit/44,1kHz]