The Ideal Qobuz Collection comprises original, uncompiled albums that have made a considerable mark on music history or which qualify as essential recordings within each musical genre. By downloading these albums, or streaming them with your subscription, you begin a journey that will shine a light on some of the finest moments in recorded music.



Electro - Released March 1, 2017 | Mute Records

Hi-Res Booklet Distinctions The Qobuz Ideal Discography

Electro - Released August 28, 2015 | Sony Music Catalog

Hi-Res Distinctions The Qobuz Ideal Discography

Electro - Released August 28, 2015 | Sony Music Catalog

Hi-Res Distinctions The Qobuz Ideal Discography

House - Released July 1, 2015 | Universal Music GmbH

Distinctions The Qobuz Ideal Discography

House - Released April 24, 2015 | Defected Records

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue

Electro - Released October 6, 2014 | Warp Records

Hi-Res Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Music - Top du mois de Jazznews
An early form of You're Dead! was the length of a double album -- a large mass of brief tracks that, for Steven Ellison, possibly signified nothing more than his fifth Flying Lotus album. As the producer and keyboardist spent more time absorbing and shaping the recordings, the title, initially comic in meaning, gained emotional weight while he was provoked to consider his mortality and the losses he has been dealt, including the deaths of his father and mother, his grandmother, his great aunt Alice Coltrane, and creative collaborator Austin Peralta. The completed You're Dead! consists of 19 tracks averaging two minutes in length that are intended to be heard in sequence from front to back. Its flow is even more liquid than that of Until the Quiet Comes, though the sounds are more jagged and free, with roots deeper in jazz. Ellison once again works extensively beside longtime comrades and pulls new collaborators into his sphere. All of them -- bassist and vocalist Thundercat, drummer Deantoni Parks, saxophonist Kamasi Washington, and many others worthy of mention -- help him push jazz, R&B, rap, and electronic music forward at once. Most striking and powerful of all is "Never Catch Me," easily the longest cut. An album's worth of ideas and a whirlwind guest appearance from rapper Kendrick Lamar are condensed into its four sonically rich minutes. The tone dramatically shifts with the following "Dead Man's Tetris," a sinister concoction of melodic bleeps and gunshot effects involving Ellison as Captain Murphy, and also Snoop Dogg, in which J Dilla, Freddie Mercury, and Peralta are all part of the afterlife fantasy. Previous Flying Lotus releases have their bleak and elegiac moments, but they're central here, highlighted by "Coronus, the Terminator" (an Ellison/Niki Randa duet), "Siren Song" (fronted by Dirty Projectors' Angel Deradoorian), and "Obligatory Cadence." The instrumentals range from playful, as reflected in titles like "Turkey Dog Coma" and "Turtles," to the distressed likes of "Tesla" and "Moment of Hesitation," with the latter two both anchored by Gene Coye's feverish percussion and Herbie Hancock's glimmering/flickering piano. It all plays out in a kind of elegantly careening fashion. It concludes with "The Protest," where Laura Darlington and Kimbra softly sing "We will live on forever" like a defiant mantra. Like his great aunt, and his great uncle John Coltrane, Ellison has created exceptionally progressive, stirring, and eternal art. ~ Andy Kellman

Electro - Released August 25, 2014 | Naive

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue

Electro - Released July 7, 2014 | Infectious

Hi-Res Distinctions The Qobuz Ideal Discography - Qobuzism
Even if they're not billed as a supergroup, the Acid's three members boast a formidable amount of talent (and other projects): Adam Freeland scored a hit single with 2003's breakbeat-driven "We Want Your Soul" and remixed songs by Orbital and Silversun Pickups, among others; along with his own intimate singer/songwriter fare, Ry X is also one half of Howling; and Steve Nalepa is also a composer, and professor of music technology. This wealth of skills and experience could have led to similarly overstuffed music, but the trio's full-length debut, Liminal, is remarkably restrained in its ever-shifting balance of indie, dance, and R&B. Indeed, the songs that first appeared on the Acid's self-titled EP sound downright lush compared to how spare and sculpted the rest the album is. "Animal" pairs the chiming, Durutti Column-esque guitars that have become a hallmark of this style with revving synths that sound like one part dubstep and one part motorcycle, while "Fame," with its beautiful juxtaposition of fizzy warmth and cool tones, might still be the Acid's most immediately engaging song. Tracks like these offer a gateway to more implosive moments such as "Clean" and "Red," both of which deliver graceful, elongated ebbs and flows that are miles away from the epic drops expected of 2010s dance music. The way the Acid incorporate elements of house and dubstep on Liminal borders on dream logic, particularly on "Veda," where a distant four-on-the-floor beat propels its meditations. Of course, they aren't the only ones fusing these sounds; How to Dress Well, the xx, and James Blake are just some of the most prominent artists working in similar territory. However, Freeland, Nalepa, and X may be the most eclectic in comparison to their contemporaries. Since the Acid boast two accomplished producers, Liminal always sounds intriguing, whether it's the sleek yet feral atmosphere of "Tumbling Lights," which evokes walking through a jungle at night, or the subtle building and blending of acoustic and electronic textures on "Basic Instinct" and "Ra." X's melancholic, Thom Yorke-like tenor is the fulcrum for these explorations, and he sounds at home in whatever backdrops Freeland and Nalepa give him. His storytelling also helps the Acid distinguish themselves from their peers, particularly on the aptly named "Creeper," where a narrative of uneasy desire ("I wanna touch you in a painted stall") unfurls over a pulsing, fractured track that conveys several kinds of tension. In theory, balance and restraint aren't the most exciting virtues for an album to possess, but in practice, Liminal's subtlety is confident and dynamic. ~ Heather Phares

Electro - Released February 23, 2014 | Kif music

Distinctions The Qobuz Ideal Discography
Taking their name from a line in the 1968 Peter Sellers film The Party, French DJ quartet Birdy Nam Nam's music is equally obscure and backward-looking: created entirely on turntables, the quartet's music consists of expertly manipulated shards of old records combined into new configurations that sound not like the usual turntablism grooves and displays of scratching prowess, but actual composed pop songs. The six-minute "Abbesses" sounds like post-rockers Tortoise jamming with a gypsy violinist and the drum section of a marching band, and the melodic drive and rhythmic swing of this track is testament to the skill with which these pop song collages were created. Elements of jazz, classical, funk, sound effects records, and unidentifiable bits of world music can be heard in instantly appealing, poppy songs like "Body, Mind, Spirit" and "Rainstorming." ~ Stewart Mason

Electro - Released January 1, 2014 | Universal Music GmbH

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Techno - Released December 1, 2013 | Red River Entertainment

Distinctions The Qobuz Ideal Discography - Pitchfork: Best New Reissue
The only old-school electro LP with any amount of staying power (thanks in part to its release on Fantasy), Enter includes crucial early singles like "Alleys of Your Mind" and "Cosmic Cars," as well as techno's first defining moment, "Clear." The collision of Atkins' vision for cosmic funk and the arena rock instincts of Rick Davis results in a surprisingly cohesive album, dated for all the right reasons and quite pop-minded. Ecological and political statements even crop up in "Cosmic Raindance" and "El Salvador." In 1990, Fantasy reissued the album with a new title (Clear) and a different track order that added "R-9" (1985) as a bonus. In 2013, the album was reissued again, this time under its original title and with several additional tracks, including "Techno City" (1984) and "Eden" (1986). One drawback: the bonus track listed as "Cosmic Cars [Detroit Style Mix]" is a duplication of the album version. ~ John Bush

House - Released October 22, 2013 | Lafessé Records

Distinctions The Qobuz Ideal Discography

Trip Hop - Released August 1, 2013 | Mute Records

Distinctions The Qobuz Ideal Discography - Sélection du Mercury Prize
Though her collaborations with Tricky, Orbital, and Add N To X focused on the sheer beauty and power of her singing, on her debut album Felt Mountain Allison Goldfrapp also explores more straightforward styles. Together with composer/multi-instrumentalist Will Gregory, Goldfrapp wraps her unearthly voice around songs that borrow from '60s pop, cabaret, folk, and electronica without sounding derivative or unfocused. From the sci-fi/spy film hybrids "Human" and "Lovely Head" to the title track's icy purity, the duo strikes a wide variety of poses, giving Felt Mountain a stylized, theatrical feel that never veers into campiness. Though longtime fans of Goldfrapp's voice may wish for more the exuberant, intoxicating side of her sound, lovelorn ballads like "Pilots," "Deer Stop," and "Horse's Tears" prove that she is equally able at carrying -- and writing -- more traditional tunes. A strange and beautiful mix of the romantic, eerie, and world-weary, Felt Mountain is one of 2000's most impressive debuts. ~ Heather Phares

Electro - Released August 1, 2013 | Mute Records

Distinctions The Qobuz Ideal Discography

Ambient - Released July 8, 2013 | InFiné

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