Albums

819 albums sorted by Date: from newest to oldest
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Alternative & Indie - Released October 13, 2017 | Marathon Artists

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Alternative & Indie - Released October 6, 2017 | [PIAS] Le Label

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"For Lilies I just wanted to retreat to a cave with my Pro-Tools, my computer, and my cheap, 100Euro Shure SM-58 microphone. I could have gone to a big studio, made a big production – but I wanted none of that. I wanted to go back to the seed of creativity, the simplest materials. I was in this room where there was no light, no night or day at all, no heat. Very uncomfortable. But I felt free. I was happy to have this feeling – ‘I don’t need more, I have everything I need here.’” The spirit and the context in which Melanie De Biasio created Lilies are certainly in keeping with this unique artist's life and work... A singer-musician who is always ready to question and challenge herself anew and push the boundary markers which are so often set down between musical genres. Released in 2013, her album No Deal excelled as an atmospheric meeting of jazz, electro and rock. The Belgian who worships Nina Simone and Abbey Lincoln took another departure from the beaten track with what is commonly called vocal jazz, and wandered towards soul, trip hop, blues: into the most impalpable of ethers. In these weightless sequences, Lilies is firmly stamped with the De Biasio hallmark. This is a way of doing away with labels and playing with light and dark, day and night. © MD/Qobuz
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Classical - Released September 22, 2017 | Alpha

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Whether singing, conducting, dancing or acting, the Canadian soprano Barbara Hannigan is a source of fascination. Alpha Classics is proud to enter her world today and to present in 2017 her very first album as singer and conductor: with the Amsterdambased orchestra Ludwig, of which she is associate artist, Barbara Hannigan has devised a programme including Berg’s Lulu Suite and Gershwin’s Girl Crazy in a Suite newly arranged by the multiaward-winning American composer Bill Elliott. To complement these two pieces, she has recorded Berio’s spectacular Sequenza III for solo voice. An outstanding soprano, a distinguished interpreter of the music of the twentieth and twenty-first centuries, an all-round artist who creates a sensation on concert platforms and in opera houses throughout the world, Barbara Hannigan has enriched her palette over the past few years by devoting a portion of her activities to conducting. © Alpha Classics
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Jazz - Released September 22, 2017 | Le Triton

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As the most Parisian of Italians describes his own 2017 cuvée: “This could have been the title of a 50s thriller. There’s a bit of nostalgia for my youth, of course. For that time when movies weren’t all in colour, in which we had to imagine the blue eyes of Michelle Morgan and Jean Gabin, never being fully sure. This black and white made us dream; we gave it the colour we could imagine, rather than the fake reality of Technicolor. I wanted to reinterpret songs I wrote quite a long time ago. Time passes, but music stays, timeless. Timeless like Gérard Manset’s song Il voyage en solitaire (He Travels Solo), which I sing here, but has in fact been singing within me since the first time I heard it. And then there’s the piano, of course. The instrument with black and white teeth… Black and white keyboard, the perfect symbol of a successful blend. A piano is a great orchestra at the tip of your fingers, a miracle. Throughout my long life as a musician, nothing has been more exciting for me than discovering new talents. Artists with their own personalities, but capable to serve the music suggested to them, to enrich it, give it a nice light, making it theirs. I’ve been lucky enough to meet a few artists capable of sublimating a partition, to bring these paper notes to life. It is the case today with Dino Rubino. His touch on the piano is magnificent. His lyricism, without any dramatic exaggeration, is overwhelming. I’ve played with some of the greatest pianists: Keith Jarrett, Michel Petrucciani and many others made me tingle. And Dino triggers that same emotion, this particular shiver that you’ll feel too, I’m sure, listening to Mélodies en noir et blanc, an album that reinterprets some of my favourite ballads. Time is a merciless judge. Whatever resists it gains incredible value. The same is true with music; the type that doesn’t concern itself with trends. And for friendship, everlasting when it is strong. Between Michel Benita and myself there’s an indissoluble link, the friendship of several decades. Our music highlights it, regardless of circumstances. “Happiness is sorrow taking a rest” Leo Ferré used to say. So let’s leave sorrow to its sleep, forever.”
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Classical - Released September 22, 2017 | harmonia mundi

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The theatres of London were vital centres for Restoration music after the return of the Stuart monarchy, following the fall of Cromwell's puritan dictatorship. Reinvigorated by the arrival of women actors and sumptuous decoration, they attracted a broad audience, which had been starved of entertainment after the years of religious rigour and the virtual ban on public performances. The most sought-after composer of the period was Locke, whose experience in this field went back into the Cromwell years. While Puritans did close theatres, some pieces had been able to overcome the ban, like the masque Cupid and Death set to music by Gibbons, which was played for the Portuguese ambassador in 1657 - then again in 1659, with additional music by Locke. When the theatres re-opened in 1660, there was a demand for music for every play, but more as an ornament than as an integral part of the plot. Each one required a series of airs and instrumental pieces to be played at the start and between each act. Locke wrote more than twenty airs of this type, although they can't be pinpointed to any specific plays. Most of his stage music, like Curtain Tune and Lilk, survive in various manuscripts from the period, and comprises stage music for plays performed in the final decade of the 17th Century. These are the inter-act pieces, airs or "curtain-raisers" which Bertrand Cuiller's Caravansérail ensemble plays here - Cuiller, remember, learned the harpsichord with Pierre Hantaï and Christophe Rousset. His last solo album, Rameau's complete works for harpsichord, was declared Classica's Shock of the Year 2015. The airs here are sung by Scottish soprano Rachel Redmond, a great performer of baroque music.
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Metal - Released September 22, 2017 | Neurot Recordings

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Ambient - Released September 8, 2017 | InFiné

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Rock - Released September 8, 2017 | Reprise

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A great expert in unearthing and displaying his own buried treasures, Neil Young has always had a pretty unique relationship with recordings of his own music. The Loner records sessions by the shovelful, and sometimes decides to shove the result in the basement, sometimes to publish it. It depends, and his choices can be puzzling. His XXL discography looks like a rollercoaster, with incredible summits, but also some steep declines... This Hitchhiker who appeared in Summer 2017 in fact brought together songs from an acoustic session on 11 August 1976 and which figure, by and large, on the albums he brought out in the five years previous: Pocahontas (on Rust Never Sleeps in 1979, including some overdubs), Powderfinger (also on Rust Never Sleeps, recorded live with Crazy Horse), Captain Kennedy (on Hawks & Doves in 1980), Ride My Llama (again, on Rust Never Sleeps, a solo live performance), Hitchhiker (on Le Noise en 2010, on electric guitar), Campaigner (on Decade in 1977, missing a verse), Human Highway (on Comes A Time in 1978, recorded as a group) and The Old Country Waltz (on American Stars 'n Bars in 1977, with Crazy Horse). There are also two completely new numbers: Hawaii and Give Me Strength… If all that sounds a little warmed-over or for fans only, the beauty of the versions offered up on this striking compilation renders the result unmissable. These compositions are of the highest calibre. But the performances are truly inspired. A pure marvel. © MZ/Qobuz

World - Released September 8, 2017 | Soundway Records

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Pop - Released September 8, 2017 | BMG Rights Management

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Revitalized by their association in 2015 with Franz Ferdinand (their number one fans!) on the FFS project, the Sparks give birth to a 25th album. Now in their seventies, the brothers Ron and Russell Mael haven’t lost their glam pop recipe, sugary on top but acidic on the inside. 45 years after their formation under the Californian sun, the Sparks find again the fire that inhabits some of their greatest hits. The Dantesque This Town Ain’t Big Enough For Both Of Us is admittedly far away—it dates from 1974 to be precise. Even so, Hippopotamus contains enough extravagance (the director Leos Carax’s voice on When You're a French Director!) and cheekiness to hold our attention. Grandiloquent chords here, minimalist disco there, electropop after that: you just have to let yourself be carried away by the silversmithery of these craftsmen that are still as inspired as before. © CM/Qobuz
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Jazz - Released September 8, 2017 | Impulse!

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One year on from Note from New York, Bill Charlap is digging into his deep-New-York identity with his brilliant Uptown Downtown. As discreet as he is refined, the pianist from the Big Apple has for years been working on transmitting and celebrating an eternal jazz. With him, you are guaranteed a flawless journey into the 1940s and 1950s. The Great American Songbook that shook the boards on Broadway and Hollywood cinema screens could find no greater ambassador. It is magic every time! Even on the most-covered standards like Sophisticated Lady that closes the album. Supported by a rhythm section worth its weight in gold (Peter Washington on the double bass and Kenny Washington on drums), Bill Charlap mixes a nectar of swing, a marvel of refinement and good taste. The heat coming off this sound is just so New York. This unique way of playing the melody. An art in itself. Art that demands humility and attention; experience and intuition. An approach that makes Charlap the heir apparent of a certain tradition of piano jazz, in which Hank Jones, Tommy Flanagan and Shirley Horn are essential figures (he knew all three), and likewise Teddy Wilson, Art Tatum, Ahmad Jamal or Sonny Clark... this is a record with mind-blowing class. © CM/Qobuz

French Music - Released September 8, 2017 | Ignatub

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Solo Piano - Released September 8, 2017 | Mirare

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This album from the pianist Luis Fernando Pérez (a student of Dimitri Bashkirov, Alicia de Larrocha and Pierre-Laurent Aimard) includes the entirety of the Cançons i Danses, or at least the ones intended for piano. Mompou composed fifteen of them, of which the thirteenth is for guitar and the fifteenth is for organ. The composition dates of these works range from 1921 to 1961 for the first twelve, while the fourteenth dates from 1978, created at the Lincoln Center in New York for the composer’s 85th birthday. Scènes d ́enfants, one of the jewels from his catalog, and one of his most renowned works, was created between 1915 and 1918, in other words at the start of his creative years. Although “Iberianising”, if you forgive our use of this term, Mompou didn’t like to be referred to as a nationalist composer, preferring the term regionalist. “Not really knowing the true style of my music,” he said, “I’ve been classified as an exclusively folkloric composer, against which I had to express my disapprobation many times. My only arrogance is to believe that I managed to create an ethnic sounding music, without falling into the trap and excess of popular themes.” Luis Fernando Pérez is a regular of prestigious festivals such as Schleswig-Holstein, La Roque d'Anthéron, Richter in La Grange de Meslay, Jacobins in Toulouse, Santander and Granada, the Musical Fortnight in Donosti and Musika-Musica of Bilbao. He has been a soloist for the Symphony Orchestra of Barcelona and National of Catalonia, Real Filharmonía of Galicia, Symphony of Bilbao, Symphony of the Principality of Asturias, Orchestral Ensemble of Paris and Kanazawa, Symphony Warsaw, Symphony of Euskadi, the RTVE Symphony, the Franz Liszt Chamber Orchestra of Budapest and the Mannheim Chamber Orchestra, and also the National Orchestra of Spain.
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Electro - Released September 1, 2017 | DFA Records - Columbia

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music
LCD isn't dead! After having solemnly interred his group at a farewell concert in April 2011 in Madison Square Garden in his native New York, James Murphy has reawakened the beast, six years later, with American Dream. Dressed up like a twenty-first century David Byrne (striking on Other Voices, whose chorus sounds like classic-era Talking Heads), the leader and his motley crew have brought out a fourth album organised around blends of rock, punk, funk and electro. This album is LCD Soundsystem through and through, with more classic songs (Call the Police, an interesting meeting of David Bowie and U2), and fewer purely dancefloor numbers (Other Voices will get you up and dancing all the same) Talking Heads, then, as ever: but also Berlin-era Bowie (Change Yr Mind and Black Screen), as James Murphy's other major influence. A whisker off a half-century old, he didn't need to reinvent LCD Soundsystem - but rather, to bring their unique sound into bloom: to enshrine this music which he has sculpted since the mid-2000s, blending punk swagger, electro sounds, new wave gloom, the hedonism of dance, and the weight of the political context of the moment. © MD/Qobuz

French Music - Released August 25, 2017 | Le Passage

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