Studio Masters – HDMusic.me

Abel Tesfaye, aka The Weeknd, is back with his anticipated fourth album After Hours, an intoxicating R&B record that feels like a natural progression from its predecessors. After 2016’s Starboy and the EP My Dear Melancholy 2 years later, the chart-topping singer made his acting debut in the Netflix thriller Uncut Gems alongside Adam Sandler. This may have been behind the inspiration for this new character the singer portrays with a broken nose, leather gloves and deep red tux in the album cover and the music video for lead single Blinding Lights, reminiscent of A-Ha’s Take On Me, the new wave from the 1980s and its synthwave revival. “I don’t like to leave my house too much. It’s a gift and a curse but it helps me give undivided attention to my work… It distracts from the loneliness, I guess”, confesses the Canadian. Unlike Starboy, there are no features on this album, The Weeknd choosing instead to invite a range of top tier producers to refine the music: Metro Boomin on the epilogue Until I Bleed Out, Tame Impala’s Kevin Parker on Repeat After Me (Interlude), the loyal Illangelo, vaporwave pioneer Oneohtrix Point Never for Scared to Live and even hitmaker Max Martin (Taylor Swift, Katy Perry, Britney Spears) for the pop-sounding Save Your Tears, resulting in 14 tracks that blend soul, R&B and new wave nuances. – Charlotte Saintoin

Tracklist:

01. Alone Again
02. Too Late
03. Hardest To Love
04. Scared To Live
05. Snowchild
06. Escape From LA
07. Heartless
08. Faith
09. Blinding Lights
10. In Your Eyes
11. Save Your Tears
12. Repeat After Me (Interlude)
13. After Hours
14. Until I Bleed Out

Download:

https://subyshare.com/3qwr7uyvt8ao/TheWeekndAfterH0urs202024441.rar.html

Academy Award-nominated, 2X GRAMMY Award-winning, and 9X JUNO Award-winning alternative R&B artist The Weeknd releases his fourth full-length album Starboy. The title track featuring Daft Punk broke the record for “Most Release Weekend Streams Ever” upon its release. In less than a week, the single amassed over 17 million streams globally and 6.5 million streams in the United States, becoming #1 Most Added at Top 40, Rhythm, Urban, and Hot AC.

The extent of the 2015 Weeknd commercial rebound, symbolized by platinum certifications for Beauty Behind the Madness and all four of its singles, didn’t merely embolden Abel Tesfaye. On this follow-up’s fourth track, a blithe midtempo cut where Tesfaye takes a swipe at pretenders while boasting about drinking codeine out of one of his trophies, the level of success is a source of amusement. He notes the absurdity in taking a “kids’ show” award for “Can’t Feel My Face,” in which he was “talkin’ ’bout a face numbin’ off a bag of blow.” The track actually lost to Adele’s “Hello,” but it clearly, somewhat comically, reached an unintended demographic. It comes as no surprise that Tesfaye, on his third proper album, doesn’t attempt to optimize the reach of his biggest hit by consciously targeting youngsters. He sings of being a “Starboy” with access to a fleet of sports cars, but he’s a “motherfuckin’ starboy,” one who is 26 years old and proud to observe his woman snort cocaine off his fancy table. While Starboy often reflects an increased opulence in the personal and professional aspects of Tesfaye’s life — from more upscale pronouns to expensive collaborations with the likes of Daft Punk (two) and “Can’t Feel My Face” producers Max Martin and Ali Payami (four) — the dark moments of vulnerability are pitch black. Lines like “I switch up my cup, I kill any pain” could have come from Tesfaye’s mixtape debut, yet there are new levels of torment. In “Ordinary Life,” he considers driving off a Mulholland Drive cliff, James Dean style, wishing he could swap everything for angel status. It’s followed with “Nothing Without You,” a ballad of toxic dysfunction. He asks his lover if she’d feel guilty for not answering his call if he happened to die that night. It’s not all dread and depravity. There’s some sense of joy in a one-night stand, and an echo of “Say Say Say” Michael Jackson, on the Luomo-ish house track “Rockin’.” Contrition is shown in the slick retro-modern disco-funk of “A Lonely Night.” Ironically enough, in the aching “True Colors,” Tesfaye sounds a little insecure about a lover’s past. The album’s lighter, comparatively sweeter parts — the Tears for Fears-sampling/Romantics-referencing “Secrets” and the breezy and only slightly devilish “I Feel It Coming” among them — are all welcome highlights. At 18 tracks, the album is a “contracted edition” playlist toolkit. The songwriting credits list just under 40 composers, and the productions — the majority of which involve Doc McKinney and/or Cirkut, low-lighted by maneater dance-punk dud “False Alarm” — are roughly as variable in style as they are in quality. When pared down to its ten best songs, Starboy sounds like Tesfaye’s most accomplished work.

Tracklist

1. Starboy (feat. Daft Punk) (03:50)
2. Party Monster (04:09)
3. False Alarm (03:40)
4. Reminder (03:38)
5. Rockin’ (03:52)
6. Secrets (04:25)
7. True Colors (03:26)
8. Stargirl Interlude (feat. Lana Del Rey) (01:51)
9. Sidewalks (feat. Kendrick Lamar) (03:51)
10. Six Feet Under (03:57)
11. Love To Lay (03:43)
12. A Lonely Night (03:40)
13. Attention (03:17)
14. Ordinary Life (03:41)
15. Nothing Without You (03:18)
16. All I Know (feat. Future) (05:21)
17. Die For You (04:20)
18. I Feel It Coming (feat. Daft Punk) (04:29)

Download:

https://subyshare.com/9c8kxms3m08n/TheWeekndStarb0y2016HDTracks2444.1.rar.html

The Red Kite guitar, named after the bird of prey indigenous to the part of Wales Toby lives, was made from Madagascar Ebony and Engelmann Spruce and was set up to play in unique tunings. It was decorated with a mother-of-pearl inlay Red Kite design on the fretboard.

Toby composed eleven instrumental studies and an arrangement of Auld Lang Syne on The Red Kite under the collective title New Music for the 12 String Guitar. In the pieces, Toby explores the rich array of textures and tones of the the 12 string guitar, challenging his playing and pushing to its limits what the instrument could really do. He took to the tranquil surroundings of Peter Gabriel’s Real World Studios in Wiltshire, where he recorded the project’s 12 pieces in the wood room. With no additional musicians, and no overdubs, edits or effects, the recordings fully demonstrate Toby’s exceptional playing and composition skills. He’s made the perfect 12 string guitar record.

Tracklist:
1. Morning Song (3:28)
2. Now in a Minute (2:36)
3. Merlod Mynydd (1:50)
4. The Bird and the Waterfall (1:54)
5. The Summer the Sky Cried for Rain (5:56)
6. Cynefin (3:59)
7. Sugarloaf Blues (2:53)
8. Happy as a Sandboy (1:53)
9. The Last Mountain Hare (2:47)
10. The Falconers Knot (3:30)
11. Dead Horse Point (5:13)
12. Auld Lang Syne (1:40)

Download:

https://subyshare.com/vax0r3ez5p3a/T0byHayNewMusicF0rThe12StringGuitar20202496.rar.html

„Caramel“ combines the freedom of improvisation with the structural clarity and discipline of classical music, the intensity and emotion of oriental music with the understanding of minimalism and space of Scandinavian music and much, much more. „Caramel“ means for Ulrich Drechsler to play together across all borders and rules. To create a new common language and mutual understanding through attentive action and listening at eye level. This is the epitome of his music.

In „Caramel“ anything may become possible. The radiant voice of Özlem Bulut, the Turkish coloratura soprano with Kurdish roots, touches the listener deeply. She floats above the room-filling, elegant sound of Oliver Steger’s double bass, above the percussion of Raphael Keuschnigg and Amir Ahmadi’s virtuoso piano lines, overflowing with passion and creativity. A wonderful trio. In addition the slam poetess and rapper Yasmine Hafedh, who is able to juggle words in her inimitable way. In between, above, below Ulrich Drechsler’s clarinets.

Tracklist

01. Ulrich Drechsler – Entireness
02. Ulrich Drechsler – Impulse
03. Ulrich Drechsler – Lucidity
04. Ulrich Drechsler – Intuition
05. Ulrich Drechsler – Open the Gates
06. Ulrich Drechsler – The Weaving Princess
07. Ulrich Drechsler – Sapience
08. Ulrich Drechsler – Rise Above the Senses
09. Ulrich Drechsler – Mirror and Reflection
10. Ulrich Drechsler – Infinity
11. Ulrich Drechsler – Equilibrium
12. Ulrich Drechsler – Entireness (German Version)
13. Ulrich Drechsler – Impulse (German Version)
14. Ulrich Drechsler – Infinity (German Version)
15. Ulrich Drechsler – The Weaving Princess (German Version)

Download:

https://subyshare.com/ky92billwax9/UlrichDrechslerCaramel20202448.part1.rar.html
https://subyshare.com/vqziy0q03dby/UlrichDrechslerCaramel20202448.part2.rar.html

The album features two string quartets which thematically deal with the subject of death. Schubert’s Death and the Maiden, No. 14 in D Minor, a key piece in chamber music repertoire, dates from 1824. Mendelssohn’s String Quartet No. 6 in F Minor, Op. 80 was composed in 1847. He composed the piece as an homage to his beloved sister Fanny who had died on 17 May 1847 and it bore the title “Requiem for Fanny”. vision string quartet have won awards in numerous competitions, have studied with members of the Artemis Quartet and the Alban Berg Quartet. They are known for their excellent interpretations AND for their innovative concert formats, working with choreographers, light designers, etc.

Tracklist:
1. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: I. Allegro (10:58)
2. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: II. Theme – (2:16)
3. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: II. Variation 1 – (2:02)
4. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: II. Variation 2 – (2:08)
5. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: II. Variation 3 – (1:42)
6. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: II. Variation 4 – (2:11)
7. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: II. Variation 5 & Coda (2:52)
8. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden'”: III. Scherzo & Trio (3:45)
9. Schubert: String Quartet No. 14 in D Minor, D. 810, “Death and the Maiden”: IV. Presto (8:59)
10. Mendelssohn: String Quartet No. 6 in F Minor, Op. 80, MWV R37: I. Allegro vivace assai – Presto (7:11)
11. Mendelssohn: String Quartet No. 6 in F Minor, Op. 80, MWV R37: II. Allegro assai (4:28)
12. Mendelssohn: String Quartet No. 6 in F Minor, Op. 80, MWV R37: III. Adagio (8:02)
13. Mendelssohn: String Quartet No. 6 in F Minor, Op. 80, MWV R37: IV. Finale (Allegro molto) (5:41)

Download:

https://subyshare.com/y2ztqu5ilqpa/visi0nstringquartetmement020202496.part1.rar.html
https://subyshare.com/lif805ln5dc0/visi0nstringquartetmement020202496.part2.rar.html

A Period of Transition is the ninth studio album by Northern Irish singer-songwriter Van Morrison, released in 1977 (see 1977 in music). It was his first album in two-and-a-half years, largely forgotten or overlooked by most casual fans. At the time of its release it was received with some disappointment by critics and fans: “Most were hoping for a work of primeval vocal aggression that would challenge the emerging élite of Morrison pretenders, whose ranks included Bruce Springsteen, Bob Seger, Phil Lynott, Graham Parker and Elvis Costello.” However, the album is still notable for several major compositions, including “Heavy Connection”, “Flamingos Fly”, “The Eternal Kansas City” and “Cold Wind in August”.

“Titles rarely come as explicit as A Period of Transition, a record Van Morrison released three years after Veedon Fleece, an uncommonly long period of inactivity for this prolific artist. It was his longest rest, before or since, and in many ways, he emerges from a cocoon here, leaving behind the lushly dark introspection of Veedon Fleece for a mellow, good-natured R&B-flavored singer/songwriter sound that may turn introspective but never feels dark – it’s warm, welcoming, infused with spirituality and humor. Still, like any period of transition, this is somewhat tentative and uneven, with its best moments being, at best, minor masterpieces. Yet there’s a charm to the album Morrison and co-producer Mac Rebennack have made, a laid-back organic feel that may not be exciting but it’s inviting – all the more so when it’s seen as the transitional effort it is.” (Stephen Thomas Erlewine, AMG)

Tracklist:
01. Piano Sonata No. 7 in D Major, Op. 10 No. 3: I. Presto (6:43)
02. Piano Sonata No. 7 in D Major, Op. 10 No. 3: II. Largo e mesto (9:20)
03. Piano Sonata No. 7 in D Major, Op. 10 No. 3: III. Menuetto. Allegro (2:49)
04. Piano Sonata No. 7 in D Major, Op. 10 No. 3: IV. Rondo. Allegro (3:50)
05. Piano Sonata No. 8 in C Minor, Op. 13 “Pathétique”: I. Grave – Allegro molto e con brio (7:58)
06. Piano Sonata No. 8 in C Minor, Op. 13 “Pathétique”: II. Adagio cantabile (5:31)
07. Piano Sonata No. 8 in C Minor, Op. 13 “Pathétique”: III. Rondo. Allegro (4:44)
08. Piano Sonata No. 9 in E Major, Op. 14 No. 1: I. Allegro (6:12)
09. Piano Sonata No. 9 in E Major, Op. 14 No. 1: II. Allegretto (3:46)
10. Piano Sonata No. 9 in E Major, Op. 14 No. 1: III. Rondo. Allegro comodo (3:17)
11. Piano Sonata No. 10 in G Major, Op. 14 No. 2: I. Allegro (6:20)
12. Piano Sonata No. 10 in G Major, Op. 14 No. 2: II. Andante (5:01)
13. Piano Sonata No. 10 in G Major, Op. 14 No. 2: III. Scherzo. Allegro assai (3:17)

Personnel:
Van Morrison, acoustic and electric guitars, vocals, harmonica
Marlo Henderson, guitar
Jerry Jumonville, tenor and alto saxophones
Joel Peskin, baritone saxophone
Mac Rebennack (Dr. John), piano, electric piano on all tracks, guitar on “It Fills You Up”
Mark Underwood, trumpet
Reggie McBride, bass
Ollie E. Brown, drums, percussion
Robbie Montgomery, backing vocals
Roger Kennerly-Saint, backing vocals
Gregory Wright, backing vocals
Carlena Williams, backing vocals
Paulette Parker, backing vocals
Candy Nash, backing vocals
Toni McVey, backing vocals
Gary Garrett, backing vocals
Joe Powell, backing vocals

Digitally remastered

Download:

https://subyshare.com/57ule6mq2jdg/VanM0rris0nAPeri0d0fTransiti0n1977Remastered20202496.rar.html

A Sense of Wonder is the fifteenth studio album by Northern Irish singer-songwriter Van Morrison released in 1985. On first release, original pressings had to be recalled when the W. B. Yeats estate refused to allow Morrison’s musical version of the poem “Crazy Jane on God” to be included, as they believed his poems should only be set to classical music. Morrison substituted “If You Only Knew” for the Yeats’ recording. (Later, perhaps due to Morrison’s efforts, Yeats poems would be put to rock settings on a whole album).

“Van Morrison’s U.S. label debut with Polygram (which had issued his Live at the Grand Opera House Belfast album in England earlier) is a strong effort, mixing some of his familiar influences – R&B, poetry, mysticism – on such characteristic tracks as “Tore Down a la Rimbaud.” It might be fair to say that, by now, Morrison’s fans had heard what he had to say and the rest was just repetition, but he continued to write and perform at a high level at this mature stage in his career.” (William Ruhlmann, AMG)

Tracklist:
1. Tore Down a la Rimbaud (4:12)
2. Ancient of Days (3:41)
3. Evening Meditation (4:15)
4. The Master’s Eyes (4:04)
5. What Would I Do Without You (5:13)
6. A Sense of Wonder (7:11)
7. Boffyflow and Spike (3:09)
8. If You Only Knew (2:58)
9. Let the Slave (Incorporating the Price of Experience) (5:30)
10. A New Kind of Man (3:30)
11. Crazy Jane On God (alternative take) (3:51)
12. A Sense of Wonder (alternative take) (6:06)

Personnel:
Van Morrison, guitar, piano, vocals
John Allair, Hammond organ
Bob Doll, trumpet
Pee Wee Ellis, tenor saxophone
Chris Michie, guitar
David Hayes, bass
Tom Donlinger, drums
Pauline Lazano, backing vocals
Bianca Thornton, backing vocals
Moving Hearts, on “A Sense of Wonder” and “Boffyflow and Spike”

Digitally remastered

Download:

https://subyshare.com/t8f10wfk24sb/VanM0rris0nASense0fW0nder1985Remastered20202496.part1.rar.html
https://subyshare.com/t2d1t5uvaazc/VanM0rris0nASense0fW0nder1985Remastered20202496.part2.rar.html

Keep It Simple is the thirty-third solo studio album recorded by Northern Irish singer/songwriter Van Morrison. It was released on 17 March 2008 (see 2008 in music) by Exile Productions Ltd./Polydor in the UK and on the Lost Highway Records label on 1 April 2008, in the U.S.. His previous studio album Pay the Devil was also released on the Lost Highway label, in March 2006. The album debuted at No. 10 on the US, UK and Canada charts and No. 7 on European Top 100 Albums. This album achieved Morrison’s highest ranking in US charts.

This is the first studio album of all new original material since his 1999 album Back on Top. Other albums released since then have contained some cover songs. The May 2005 album, Magic Time, was composed of ten originals and three cover songs.

The album features most of the various genres that Morrison has been influenced by such as jazz, folk, blues, celtic, country, soul and gospel.

“Keep It Simple is a mantra for Van Morrison, as he stripped his music down to the bare basics years ago and then comfortably rode that groove, comprised in equal parts of blues, soul, jazz, and country. Van has been riding this groove so long that it’s hard to pinpoint exactly when he settled into it, but looking back, things started to shift in the mid-’90s, as understated R&B rhythms took precedence and he started to punctuate them with country songs (or in the case of Pay the Devil, an entire LP of country tunes). Despite his new label Lost Highway’s insistence that the fact this is his first album of all-original material since 1999’s Back on Top, Keep It Simple doesn’t feel all that different than the records since 1999, either in its feel or in structure, nor does it help that Van’s songs play with older tunes, both in their lyrics and their very titles (“That’s Entrainment,” of course, but “Don’t Go to Nightclubs” is a winning spin on “Don’t Get Around Much Anymore”). Familiarity can breed contempt – and there’s no denying that there is no figure as stubborn in popular music than Van Morrison, so it’d be easy for the cynical to assume that his refusal to change is a mere spiteful act, just as it would be easy for some listeners to think all his albums sound the same, because they kind of do – but familiarity can also deepen the music, which is the case with Morrison. This is lived-in, soulful music, the kind that can only be made after years of playing the classics, and if that doesn’t quite make for a compelling album, it does make for a comforting one. It’s as easy to slip into this album as it is a warm bath, as Van’s cantankerous rumblings only surface (quite slyly) on the closing “Behind the Ritual,” where he scats “blah blah blah” on the corner, suggesting that whatever he’s singing doesn’t really matter – and, in a way, he may be right, as the lyrics, the songs even, don’t matter as much as the overall sound on Keep It Simple, which is as pure a groove album as he’s ever made. There are no surprises, but when you do something this well, there doesn’t need to be.” (Stephen Thomas Erlewine, AMG)

Tracklist:
1. How Can a Poor Boy? (5:42)
2. School of Hard Knocks (3:44)
3. That’s Entrainment (4:32)
4. Don’t Go to Nightclubs Anymore (4:31)
5. Lover Come Back (5:15)
6. Keep It Simple (3:34)
7. End of the Land (3:16)
8. Song of Home (4:13)
9. No Thing (4:31)
10. Soul (3:36)
11. Behind the Ritual (6:56)

Digitally remastered

Download:

https://subyshare.com/olj82r9lcpkd/VanM0rris0nKeepItSimple2008Remastered20202496.part1.rar.html
https://subyshare.com/4a2bmksqiv15/VanM0rris0nKeepItSimple2008Remastered20202496.part2.rar.html

“No Guru, No Method, No Teacher” is the sixteenth studio album by Northern Irish singer-songwriter Van Morrison.

The album was recorded at Studio D and Record Plant Studios in Sausalito, California in 1985 with Jim Stern as engineer. The basic takes were recorded at Studio D with Chris Michie, Jef Labes, Babatunde Lea (credited as “Baba Trunde”), David Hayes and Morrison. Overdubs, guitar solos, strings and back-up vocals were added at the Record Plant with the masters taken to Townhouse Studios in London. Overdubs with Ritchie Buckley on saxophone, Martin Drover on trumpet and oboe played by Kate St. John were added in the London studio.

The album title is evocative of a 1966 quotation by Jiddu Krishnamurti: “…there is no teacher, no pupil; there is no leader; there is no guru; there is no Master, no Saviour. You yourself are the teacher and the pupil; you are the Master; you are the guru; you are the leader; you are everything.”

“No Guru, No Method, No Teacher was Van Morrison’s second studio album for Mercury, following A Sense of Wonder and Live at the Grand Opera House Belfast. Recorded at the height of his spiritual period, it is among the most empathic records in his career. Morrison’s seeking of and obsession with “reclaiming the previous” is everywhere, beginning with the set’s opener, “Got to Go Back.” With a striking wide-open acoustic piano, accompanied by an oboe solo (by Kate St. John) twinned by Richie Buckley’s soprano saxophone and an acoustic guitar, Morrison offers, in waltz tempo, these reflections: “When I was a young boy back in Orangefield/I used to look out my classroom window and dream/And then go home and listen to Ray sing/’I Believe to My Soul’ after school/Oh that love that was within me/You know it carried me through/Well it lifted me up and it filled me/Got to go back/Got to go back/To the feeling.” The album is consumptive in its focus on spiritual innocence as it struggles with notions of God and liberation from earthly constraints. That said, the struggle is visceral; he is immersed in the latter by the sheer physicality of his music even at its most ethereal. “Oh the Warm Feeling” underscores the notion of memory and lost innocence amid lovely oboe, acoustic guitar, organ, and vibes as Morrison sings in the past tense, juxtaposing it against the present. The Celtic soul that comes elegiacally forth from “Foreign Window” is among the album’s finest tracks. Nakedly spiritual, Morrison’s poetic lyrics addressed to an Other come out of a past that is simultaneously part of his eternal present in a love song; its multivalent textural and dynamic arrangement is gorgeous. This album is an extended meditation that reflects a willingness to stay inside the cloud of the soul’s tensions as it seeks; the melodies are often mantra-like. “A Town Called Paradise,” however, is the exception. It is a classic midtempo rocker that seems to come from as far back as Astral Weeks with its woven, pulsing layers of acoustic guitars, though punctuated by female backing vocals, tenor saxophone, and an electric solo guitar. Interestingly, there is a play on words here, called “Here Comes the Knight,” which doesn’t reference the earlier version he recorded with Them, and is elliptical in terms of its lyrics. There are some longer selections here as well, in the Celtic R&B of “Tir Na Nog”; the glorious “In the Garden” (a concert staple); and the righteous frustration in “Thanks for the Information,” detailing the pitfalls of the spiritual path. Combined, these tunes make for a deeply satisfying album in the least and a major – if provocative for casual fans – Morrison work that hones a fine point on the songwriter’s search for transformation and transcendence as part and parcel of the spiritual process, while making music in real time.” (Thom Jurek, AMG)

Tracklist:
1. Got to Go Back (5:00)
2. Oh the Warm Feeling (3:20)
3. Foreign Window (5:26)
4. A Town Called Paradise (6:18)
5. In the Garden (5:47)
6. Tir Na Nog (7:19)
7. Here Comes the Knight (3:45)
8. Thanks for the Information (7:19)
9. One Irish Rover (3:31)
10. Ivory Tower (3:44)
11. Oh the Warm Feeling (Alternative Take) (4:37)
12. Lonely at the Top (4:16)

Personnel:
Van Morrison, guitar, harmonica, vocals
Teressa “Terry” Adams, cello, string section leader on “Tir Na Nog”
Richie Buckley, tenor and soprano saxophones
Nadine Cox, harp on “Tir Na Nog”
Martin Drover, trumpet
Jef Labes, piano, synthesizer, string arrangement on “Tir Na Nog”
Chris Michie, guitar
John Platania, guitar
Rebecca Sebring, viola
Kate St. John, cor anglais, oboe
John Tenney, violin
Joseph Edelberg, violin
David Hayes, bass
Babatunde Lea, drums
June Boyce, backing vocals
Rosie Hunter, backing vocals
Bianca Thornton, backing vocals
Jeanie Tracy, backing vocals

Digitally remastered

Download:

https://subyshare.com/wf0dgg1u6gr0/VanM0rris0nN0GuruN0Meth0dN0Teacher1986Remastered20202496.part1.rar.html
https://subyshare.com/txivatp7jij0/VanM0rris0nN0GuruN0Meth0dN0Teacher1986Remastered20202496.part2.rar.html

Too Long in Exile is the twenty-second studio album by Northern Irish singer-songwriter Van Morrison. The album was produced by Morrison and draws on urban blues and soul jazz sounds, including collaborations with John Lee Hooker and Georgie Fame. Released in 1993 by Polydor Records, Too Long in Exile received positive reviews from most critics and reached number four on the UK Albums Chart.

“The title track is a mundane cross between contemporary blues and soft rock with a chorus repeated ad nauseam. Next up is the gently rocking blues of “Big Time Operator” featuring Georgie Fame on organ. Morrison bites into a delicious cover of Ray Charles’ “Lonely Avenue.” John Lee Hooker appears on two striking duets, “Gloria” and “Wasted Years.” Sonny Boy Williamson’s “Good Morning Little School Girl” is revisited and sped up a bit with nice harmonica solo by Morrison. Throughout, Morrison’s raw vocal cords are sufficiently dramatic to bring these rhythmic stories to life. This is an earthy departure from his two previous pop efforts.” (Bil Carpenter, AMG)

Tracklist:
01. Harpsichord Concerto No. 1 in D Minor, BWV 1052: I. Allegro (7:12)
02. Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio (6:38)
03. Harpsichord Concerto No. 1 in D Minor, BWV 1052: III. Allegro (7:23)
04. Harpsichord Concerto No. 2 in E Major, BWV 1053: I. Allegro (7:55)
05. Harpsichord Concerto No. 2 in E Major, BWV 1053: II. Siciliano (3:53)
06. Harpsichord Concerto No. 2 in E Major, BWV 1053: III. Allegro (6:11)
07. Harpsichord Concerto No. 7 in G Minor, BWV 1058: I. Allegro (3:24)
08. Harpsichord Concerto No. 7 in G Minor, BWV 1058: II. Andante (4:50)
09. Harpsichord Concerto No. 7 in G Minor, BWV 1058: III. Allegro assai (3:49)
10. Harpsichord Concerto No. 4 in A Major, BWV 1055: I. Allegro (4:04)
11. Harpsichord Concerto No. 4 in A Major, BWV 1055: II. Larghetto (4:42)
12. Harpsichord Concerto No. 4 in A Major, BWV 1055: III. Allegro ma non tanto (4:05)

Personnel:
Van Morrison, vocals, electric guitar, acoustic guitar, alto saxophone, harmonica
John Lee Hooker, vocals, electric guitar on “Gloria” and “Wasted Years”
Ronnie Johnson, electric guitar
Candy Dulfer, alto saxophone
Kate St John, tenor saxophone, cor anglais
Teena Lyle, backing vocals, Hammond organ, percussion, vibraphone
Jonn Savannah, backing vocals, Hammond organ
Georgie Fame, Hammond organ, backing vocals
Howard Francis, Hammond organ, piano
John Allair, Hammond organ
Nicky Scott, bass
Richard Cousins, bass
Geoff Dunn, drums
Paul Robinson, drums
Kevin Hayes, drums

Digitally remastered

Download:

https://subyshare.com/pz4e10oxikrb/VanM0rris0nT00L0nginExile1993Remastered20202496.part1.rar.html
https://subyshare.com/ffqai4e0bhiy/VanM0rris0nT00L0nginExile1993Remastered20202496.part2.rar.html

“Distance Over Time” is Dream Theater’s 14th studio album and debut for InsideOutMusic/Sony Music. The two-time GRAMMY Award nominated progressive metal band have sold over 15 million records worldwide. For this record, the band approached things a little differently. For the first time, the members lived, wrote & recorded together at the secluded Yonderbarn studios in Monticello, NY over the course of four months. For “Distance Over time,” the band wanted to return to their roots and produce a more organic record. Despite these changes, Dream Theater uphold their unique signature of combining metallic aggression and progressive scope, putting it in a frame of tighter, more concise song writing. “Distance Over Time” might deal with difficult topics, but it also reflects the spirit, joy and passion that Dream Theater put into making this album. “Distance Over Time” is available as Standard CD Jewel Case, Special Edition Digipak (incl. 1 bonus track), 180g Gatefold 2LP Edition (incl. 1 bonus track & an 8-page LP-booklet), Ltd. Edition Artbook (incl. 1 bonus track, 5.1 mix with video animations, instrumental mixes, high res files of the album, stems for “Untethered Angel”

In 2016, prog metal progenitors Dream Theater issued the 130-minute conceptual opus The Astonishing, which all but left metal behind to pursue a classic prog direction. Widely acclaimed by mainstream rock media, it proved divisive among fans and the metal press. Whether they admit it or not, DT took note. When it was time to record for new label Inside Out, they collectively decamped to a rural spot and lived together for the four months it took to write and record Distance Over Time. Ultimately, they took full measure of their history together and made a nearly complete U-turn, heading (mostly) back to basics for an injection of inspiration and renewed force. First single and opener “Untethered Angel” is classic Dream Theater, offering an abominably heavy riff from bassist John Myung and guitarist John Petrucci. James LaBrie’s clean vocals soar above Jordan Rudess’ driving organ and synth and Mike Mangini’s thundering double kick drums. It’s replete with time and tempo changes. “Paralyzed,” despite its 4:17 length, is a riotous crunch-and-crush jam with roiling snare and tom-tom thud; the unhinged grooves from Myung and Petrucci, along with Rudess’ piano, add ballast and drama for LaBrie, and he delivers the lyrics with characteristic commitment and remarkable range. “Fall Into the Light” with its bell-like cymbals and crashing snares provides a backdrop for seriously heavy shredding, offering two of Petrucci’s finest solos. Musically, “Barstool Warrior” and “Out of Reach” could have been part of The Astonishing (though they wouldn’t fit its subject matter). Their hooky prog ranges from anthemic rock djent to ELP-esque keyboard runs to Peter Gabriel/Steve Hackett-era Genesis — which all entwine and add an expansive dimension to Distance Over Time. “At Wit’s End” is a creative peak that illustrates the band’s preference for leaving the heaviest hitters near the album’s end. It delivers a kaleidoscopic range of prog metal tenets with frenetic polyrhythms, screaming guitar and keyboard solos, chugging bass, and emotive, soulful vocal refrains. The eight-and-half-minute “Pale Blue Dot” is another. Using Carl Sagan’s phrase for describing earth from space, it commences with an ambient sci-fi intro that balances intense heaviness, knotty, time-stretching progressions, near-symphonic bombast, a taut hook, a foreboding chorus, and killer solos from Petrucci and Rudess that aggressively engage counterpoint. Vintage-era Deep Purple were a big influence on Dream Theater. The bonus track “Viper King” is a charged yet radio-friendly tribute to the Ritchie Blackmore/Jon Lord/Ian Gillan era, with its punched-up hard/prog rock swing showcasing insane collisions of organ, with unhinged guitar and bass exchanges prodded by maniacal drumming in supporting a loping cinematic chorus. Dream Theater reaffirm their identity on Distance Over Time, displaying a collective hunger, abundant energy, creativity, and musical (re)discovery. This set should erase the schism between fans and win the band a whole slew of new ones. ~ Thom Jurek

Tracklist
1. Dream Theater – Untethered Angel
2. Dream Theater – Paralyzed
3. Dream Theater – Fall into the Light
4. Dream Theater – Barstool Warrior
5. Dream Theater – Room 137
6. Dream Theater – S2N
7. Dream Theater – At Wit’s End
8. Dream Theater – Out of Reach
9. Dream Theater – Pale Blue Dot
10. Dream Theater – Viper King (Bonus track)

Download:

https://subyshare.com/e63zdagm7tbt/DreamTheaterDistance0verTimeB0nustrackversi0n20192496.part1.rar.html
https://subyshare.com/kko9efg2c49w/DreamTheaterDistance0verTimeB0nustrackversi0n20192496.part2.rar.html

The septet’s music weaves together Ingrid Laubrock‘s compositions with improvisation and live processing, often in multiple simultaneous layers.The four compositions in the form an imaginative and evocative piece that straddles the boundaries of improvisation, new music and avant-jazz.

Ingrid Laubrock Septet consists of New York City-based musicians who have all made a huge impact as composers, performers and improvisers in their own right. It’s a cast of innovative performers who are specialized in experimental music and constantly look for fresh avenues to create truly new music.

After relocating to Brooklyn in 2008 Ingrid Laubrock soon became a creative epicentre in the New York jazz scene, and is now one of the most significant voices in contemporary jazz. The new album ‘Serpentines’ fits in Laubrock’s musical cosmos, in which improvisational furore and compositional rigour, calculation and freedom, are intermingled. Laubrock grounded this formation with the unusual line-up having been given a carte blanche for the 2015 Vision Festival.

Florian Keller writes in the liner notes: “If we take the title’s suggestion and use snake paths as graphs for the movement of this music, various distinctive characteristics can be determined. Via the crafty compositional and improvisational about-turns, the music spirals upwards, peaking in airy flights. Changes of direction, and rhythmic, melodic turning points drive the music on, and release dramatic potential.”

Tracklist:

01. Pothole Analytics: Part I (4:44)
02. Pothole Analytics: Part II (5:42)
03. Chip in Brain (12:31)
04. Squirrels (15:15)
05. Serpentines (15:20)

Personnel:

Ingrid Laubrock, tenor and soprano saxophone
Peter Evans, piccolo trumpet, trumpet
Miya Masaoka, koto
Craig Taborn, piano
Sam Pluta, electronics
Dan Peck, tuba
Tyshawn Sorey, drums

Download:

https://subyshare.com/huuj579028ne/IngridLaubr0ckSerpentines20162496.rar.html

Original Motion Picture Soundtrack (OST) from the film A Hidden Life (2019). The music was composed by James Newton Howard (Dreamcatcher, Fantastic Beasts and Where to Find Them, The Nutcracker and the Four Realms). A Hidden Life is a 2019 biographical war drama film written and directed by Terrence Malick. The film stars August Diehl, Valerie Pachner, Michael Nyqvist, Matthias Schoenaerts, Jürgen Prochnow, Bruno Ganz, Martin Wuttke, Alexander Fehling, Maria Simon, Franz Rogowski, Tobias Moretti, Ulrich Matthes, Max Mauff, Johan Leysen.

Tracklist:

1. A Hidden Life
2. Israel in Egypt, HWV 54, Part I, No. 15 “Double Chorus: And Israel Saw That Great Work” & 16 “Chorus: And Believed The Lord”
3. Surrounded by Walls
4. Return
5. Indoctrination
6. Morality in Darkness
7. Love and Suffering
8. Tabula Rasa, II. Silentium (Handel)
9. Hope
10. Descent
11. Czech Suite in D Major, Op. 39: I. Allegro Moderato (Dvorak)
12. Kleines Requiem für eine Polka, Op. 66: IV. Adagio Cantabile (Gorecki)
13. Knotted
14. There Will Be No Mysteries

Download:

https://subyshare.com/2innpsuc6857/JamesNewt0nH0wardAHiddenLife0riginalM0ti0nPictureS0undtrack20192496.part1.rar.html
https://subyshare.com/0048bqhj8q91/JamesNewt0nH0wardAHiddenLife0riginalM0ti0nPictureS0undtrack20192496.part2.rar.html

Cuban-American broadway songstress Janet Dacal presents a programme of her favourite standards from the American Songbook. Dacal first made waves as a broadway lead in 2017 with Prince of Broadway.

Tracklist:

01. It Don’t Mean A Thing
02. Orange Colored Sky (feat. Olivia C. Dacal)
03. Be True to Me
04. My Funny Valentine
05. L-O-V-E
06. Fever
07. Tenderly
08. Moondance (feat. Javier Muñoz)
09. Begin the Beguine
10. I Got Rhythm
11. Sabor a Mí

Download:

https://subyshare.com/qlm64dmlo52o/JanetDacalMyStandards202024441.rar.html

Hailing from Charleston, West Virginia, but now resident in NYC, Jared Pauley’s first musical experiments were with the guitar but he abandoned this in favor of piano as a teenager. His influences include Herbie Hancock, George Duke and Chick Corea and his first purchased albums were Miles Davis’ Milestones (Columbia, 1958), Herbie Hancock’s Headhunters (Columbia, 1973) and Tito Puente’s Éxitos Eternos (Universal, 2004). Certainly the Corea and Puente influences are prevalent on this follow-up to his debut recording Systematic (Circle Road, 2016).

On Capitol Street opens with a very Return to Forever-esque “Slush” with a key member of his band, saxophonist Adam Hutcheson taking the first solo on alto. Other members of the record’s nucleus include Cengiz Baysal on drums and Elizabeth Pupo-Walker on percussion. Tamuz Nissim makes the first of two appearances on “Questions” where her airy vocals positively complement this breezy number. “Piphi’s Pellets” benefits from the addition of guests Duane Eubanks on trumpet and Headhunters alumnus Mike Clark on drums. They also appear on the album’s closer, “I’ll Sing You This Melody,” but with Eubanks on flugel and more skilful vocals from Nissim who handles the serpentine melody with aplomb. Guest tenor saxophonist Ben Bryden takes the lead on “Jetson’s Tune” underpinned by some deft bass guitar from Joel Masinter. On the Latin-flavoured title track, Hutcheson contributes fluid soprano and there’s a convincing solo from Evan Hammond on all-too-rarely-heard 12 string acoustic guitar.

The conga-rich “Carry My Weight” positively bursts with a South American flavour facilitating an autonomic foot-tapping response from the listener and likewise “Something In The Air” has an insouciant feel courtesy of Hutcheson’s lithe flute, that’s on a par with the late Joe Farrell. All the while throughout the album, Pauley holds his wholly appealing album together expertly utilising a variety of instruments including bass guitar on three tracks. Capital music from Capitol Street.

Tracklist:

01. Slush (5:04)
02. Questions (3:46)
03. Piphi’s Pellets (4:57)
04. Jetson’s Tune (4:26)
05. On Capitol Street (5:47)
06. Carry My Weight (3:17)
07. Something in the Air (6:04)
08. I’ll Sing You This Melody (5:31)

Download:

https://subyshare.com/8290yc4x25fh/JaredPauley0nCapit0lStreet20192448.rar.html

Your Perfect Matador adorns the colossal battles between love and art with a poets sense of right and wrong.

Through orchestrated layers reminiscent of the plushest art galleries, Jay Aymar (pronounced Ay-Mar), consummate songwriter and poet, rises from shadowed concrete beds to bring us a cinematic view of the colossal battles between love and art, bred through the transience and demands of touring. Your Perfect Matador celebrates the juxtaposition and necessity to do a little wrong, to make things right, illustrated by visual artists Banksy, Vincent van Gogh and Leonardo da Vinci.

It’s a narcotic cocktail of edgy post-Americana, swampy southern roots-rock with touches of soul and funk. Produced by Michael Phillip Wojewoda, featuring guest vocals from Shakura S’aida, Alejandra Ribera and Chloe Charles and string arrangements from Drew Jurecka.

Tracklist:

1. Your Poet Bleeding (4:58)
2. Walls Are Pages (5:08)
3. The Greatest Story Never Told (4:23)
4. Us Wild Dogs (3:48)
5. Alive in the Shadows (5:58)
6. Always Had You (3:42)
7. Two Planks and a Passion (4:15)
8. Take Me Home (3:05)
9. Banksy Was Here (1:49)

Download:

https://subyshare.com/ghe21dan41ia/JayAymarY0urPerfectMatad0r20202448.rar.html

How do we become who we are? Those who go before us, what do they pass on to us? Do we inherit something? What does a role model, an early source of inspiration, mean?

In the title track on her new album Queen on the Hillside, dedicated to her grandmothers and to those who have gone before, Jeanette Lindström explores what it means to have someone who sets the example to never give up, and at the same time conveys lust, the courage to dream and the freedom to create something of your own. Finding your own way.

That Jeanette has found her own musical path is obvious. With Swedish Grammis winner Attitude & Orbit Control (2009) she had taken yet another step towards an expression and a sound that was already more than hinted at in her previous albums Walk (2003) and In the Middle of this Riddle (2005). A music still rooted in jazz but with an increasingly elaborate production and arrangements pointing towards pop music and a much heavier sound.

Attitude & Orbit Control was a milestone in more than one way, not least for the collaboration with the legendary Robert Wyatt who came to collaborate on five of the album’s tracks. Jeanette Lindström and Magnus Öström’s fruitful producer collaboration also meant a lot for the final result. That the album eventually was rewarded with the Grammis for best jazz album of the year 2010 was a well-deserved ending of a very memorable journey.

The new album, Queen on the Hillside, her seventh full-length album in her own name, is bursting with original music. Eleven tracks with music and lyrics from Jeanette Lindström’s pen. Songs with strong melodies in intricate and airy production with meaningful lyrics. And then that magical voice that always so congenially presents them. This time around Jeanette Lindström has also chosen to produce herself. The full album will be released worldwide on November 15th.

Tracklist:

01. Queen on the Hillside feat. The Stenhammar Quartet
02. Fragments
03. Falling
04. Vem feat. The Stenhammar Quartet
05. That Cloud feat. The Stenhammar Quartet
06. This Is How
07. Somehow
08. Commence
09. Breathe
10. Try to Be feat. The Stenhammar Quartet
11. North

Download:

https://subyshare.com/ip0hkzporzki/JeanetteLindstrmQueen0ntheHillside20192448.rar.html

Original Motion Picture Soundtrack from the movie True History of the Kelly Gang (2019). The score music by Jed Kurzel (The Mustang, Assassin’s Creed, Jupiter’s Moon). True History of the Kelly Gang is a 2019 biographical crime drama film based on the 2000 novel of the same name by Peter Carey. The film premiered at the Toronto International Film Festival on September 11, 2019. The film is written by Shaun Grant, directed by Justin Kurzel, stars George MacKay, Russell Crowe, Nicholas Hoult, Essie Davis, Charlie Hunnam.

Tracklist:

1. Rider
2. The Dress
3. The Butcher
4. Bumble
5. Harry Power
6. The Hold Up
7. The Sergeant
8. Home
9. Dan Rides At Night
10. The Robinsons
11. Mary
12. Magpies
13. Riding On
14. Stringybark
15. The Message
16. Helmets
17. Opium
18. Glenrowan
19. The Drop

Download:

https://subyshare.com/h62bqjjux78i/JedKurzelTrueHist0ry0ftheKellyGang0riginalM0ti0nPictureS0undtrack202024441.rar.html

Honey Wine is the first of two albums, years in the making, featuring special guest Sophie Nzayisenga. Sophie is a vocalist and the only professional female inanga player in the world. The inanga is a ten string zither-like instrument so rare there isn’t even a wikipedia page for it. We are also joined by legendary jazz bassist and multi-instrumentalist William Parker and percussionist Tim Keiper who has toured internationally with Vieux Farka Toure, Cyro Baptista, Matisyahu, and many others.

I first met Sophie when I went to Rwanda in 2009 to give street performances in commemoration of the 15th anniversary of the Genocide against the Tutsi. I had for years been fascinated by this rare instrument after hearing it on a CD from the Nonesuch Explorer Series called Burundi: Music from the Heart of Africa (where inanga is also widespread.) As I was planning my trip, I became aware that inanga is the national instrument of Rwanda and voiced my interest in finding an inanga player to collaborate with there, so some friends introduced me to Sophie who at the time didn’t speak a word of English. During that trip we performed together at the Goethe Institute of Kigali.

Soon began a four year quest to bring Sophie to New York City to perform and record with my band here. The first obstacle was funding, which was done through Indiegogo and eventually a grant from the Puffin Foundation. A more troubling and unusual hindrance was the USA immigration bureaucracy. My first attempt to bring Sophie to New York City failed when the State Department denied her a visa in 2013, after I’d already invested considerable personal resources in the project. In 2015, with intervention from the Rwandan government, the State Department finally authorized Sophie to travel to and from the USA.

Some of the songs on Honey Wine are fully improvised such as the title track. Ibeseke is a song of Sophie’s, and the rest are compositions I assembled by studying the rhythmic patterns of classic inanga masters such as Joseph Sebatunzi and assimilating Western and other scales to the pentatonic inanga patterns.

Tracklist:

01. Ibeseke (9:23)
02. Dry Season (6:18)
03. Honey Wine (13:28)
04. Angry Woman (12:38)
05. East River Rapids (10:49)
06. No Problem (7:49)

Download:

https://subyshare.com/999wba2kc95s/JeremyDannemanH0neyWine201924882.part1.rar.html
https://subyshare.com/scb61ed9fqf4/JeremyDannemanH0neyWine201924882.part2.rar.html

The time when Danish musicians felt substandard to visiting American jazz artists is over. But for Jesper Thilo, this was never the case. He received early recognition and appreciation from Americans, who from the very beginning regarded him as a musician that could easily achieve the level they represented. One could have asked Webster, Hawkins, Benny Carter, Roy Eldridge, “Sweets,” Clark Terry, Dizzy and any of the other international names that Thilo played with during his long and glorious career. The inarguable consensus was, and is, that he’s always been effortlessly on par with the Americans and since the early 1960s positioned himself as a colossus on the Danish jazz landscape.

Jesper Thilo has been a musician for more than 60 years and is still at the top of his game, leaving a striking impression and always guaranteeing a monumental musical level, from his early days with the Arnvid Meyers Orchestra, to the DR’s Big Band, to any of the other countless ensembles of Danish and international acclaim he’s lent his sound and spirit to. Thilo is both a pioneer and a beacon whose euphonious and authoritatively timeless virile swing style casts a long shadow.

There are those who may have read or heard somewhere that the Danish saxophonist can be something of a “copycat.” And it’s true that with his incredible technique, Jesper Thilo is able to play and sound like pretty much anyone he wants to in any given moment… But he’s also never considered this to be a negative thing. In fact, he believes that a good copy is often better than a problematic original. Listeners who have heard Thilo at venues around the world and on numerous recordings know that he is an original, through-and-through. Asked why he doesn’t play like other ’modern’ saxophonists like Coltrane or Michael Brecker, he usually responds: “It’s because there was no John Coltrane and Michael Brecker when I started playing. I play like my heroes – Don Byas, Ben Webster, Lester Young, and Coleman Hawkins,” adding, “and it’s going even better than I expected!”

Jesper Thilo has led his own bands since 1985, and always surrounded himself with some of the Denmark’s very best rhythm sections, including the team he prefers to play with at the moment: a super tight, swinging unit with Søren Kristiansen at the piano, Daniel Franck on the bass, and Frands Rifbjerg behind the drums. Little surprise then that it’s this inspired group that he wanted to appear on his new record. Unlike many other jazz musicians, Thilo has always kept his distance from composing original music. His repertoire is primarily culled from the great American songbook and beloved jazz standards – material that’s enduring and flexible enough to be turned upside down and dance another round in the ring, but retro? Not on your life.

In his very entertaining autobiography (Man ska’ ku’ se komikken), Jesper Thilo writes that “jazz is for grown-ups who want to tear a few hours out of their perhaps boring lives to have a little fun and hear something that they can concentrate on, where they can be free of dogs, kids, TV, and that kind of thing.” That’s just the jazz you can hear on SWING IS THE THING – recorded live, without edits and other fixes, over three short days in Thomas Vang’s studio, ‘The Village’ in Copenhagen. Live, but without an audience, accompanied only by fun, and where SWING IS THE THING!

Tracklist:

01. Just Friends
02. I’ll Never Be The Same
03. I Want To Be Happy
04. I Can’t Get Started
05. Det Var En Lørdag Aften / It Happened one Saturday Night
06. Woody N You
07. Broadway
08. Nature Boy
09. Rosetta
10. Embracable You
11. Swinging Til The Girls Come Home
12. Splanky

Personnel:

Jesper Thilo – tenor saxophone
Søren Kristiansen – piano
Daniel Franck – bass
Frands Rifbjerg – drums
Rebecca Thilo Farholt – vocals on Nature Boy

Download:

https://subyshare.com/57d7x66anez2/JesperThil0SwingistheThing20202496.part1.rar.html
https://subyshare.com/pw2aiyq1ctjg/JesperThil0SwingistheThing20202496.part2.rar.html

The Weeknd – After Hours (2020) [Official Digital Download 24bit/44,1kHz]

The Weeknd – Starboy (2016) [Official Digital Download 24bit/44,1kHz]

Toby Hay – New Music For The 12 String Guitar (2020) [Official Digital Download 24bit/96kHz]

Ulrich Drechsler – Caramel (2020) [Official Digital Download 24bit/48kHz]

vision string quartet – memento (2020) [Official Digital Download 24bit/96kHz]

Van Morrison – A Period of Transition (Remastered) (1977/2020) [Official Digital Download 24bit/96kHz]

Van Morrison – A Sense of Wonder (Remastered) (1985/2020) [Official Digital Download 24bit/96kHz]

Van Morrison – Keep It Simple (Remastered) (2008/2020) [Official Digital Download 24bit/96kHz]

Van Morrison – No Guru, No Method, No Teacher (Remastered) (1986/2020) [Official Digital Download 24bit/96kHz]

Van Morrison – Too Long in Exile (Remastered) (1993/2020) [Official Digital Download 24bit/96kHz]

Dream Theater – Distance Over Time (Bonus Track Version) (2019) [Official Digital Download 24bit/96kHz]

Ingrid Laubrock – Serpentines (2016) [Official Digital Download 24bit/96kHz]

James Newton Howard – A Hidden Life (Original Motion Picture Soundtrack) (2019) [Official Digital Download 24bit/96kHz]

Janet Dacal – My Standards (2020) [Official Digital Download 24bit/44,1kHz]

Jared Pauley – On Capitol Street (2019) [Official Digital Download 24bit/48kHz]

Jay Aymar – Your Perfect Matador (2020) [Official Digital Download 24bit/48kHz]

Jeanette Lindstrom – Queen on the Hillside (2019) [Official Digital Download 24bit/48kHz]

Jed Kurzel – True History of the Kelly Gang (Original Motion Picture Soundtrack) (2020) [Official Digital Download 24bit/44,1kHz]

Jeremy Danneman – Honey Wine (2019) [Official Digital Download 24bit/88,2kHz]

Jesper Thilo – Swing is the Thing (2020) [Official Digital Download 24bit/96kHz]