The cosmopolitan Tingvall Trio was created in Hamburg in 2003 under the impetus of the Swedish pianist Martin Tingvall, who is accompanied by Cuban double bassist, Omar Rodriguez Calvo, and the German drummer, Jurgen Spiegel. They enjoyed some popularity in their early days, although this was largely confined to the Germanic world (they received two Echo Jazz Awards, including in 2012 that of “Best jazz formation in Germany”). Over the last ten years, however, the group has unquestionably been working hard to widen its reach by multiplying its number of successful albums and showcasing the charm of its acoustic, colourful, and ultra-melodic music directly at festivals around the world. With this new album Birds (its 9th in 20 years), the trio does not change its winning formula. Placing their hat down somewhere between the Avishai Cohen trio, Go-Go Penguin and E.S.T, they have maintained their contemporary trio art with acclaimed jazz bass mixes - both in their general grammar and orchestral dynamics - as well as their catchy pop-inspired melodies and Latin and Caribbean-inspired rhythms. This eclectic mix can almost be compared to the vast and harmonious Scandinavian landscapes. From a repertoire of small ritornellos, with voluntarily simple and precisely drawn forms, the Tingvall Trio develops a collective and clear discourse which showcases the group’s sound and a form of rhythmic joy which could easily revolutionise their formula, both from a formal and expressive viewpoint. © Stéphane Ollivier/Qobuz

Neil Young continues to exploit his massive catalog of original songs in innovative ways. On his 45th studio album, he revisits 12 songs—mixed as a single track—that stretch as far back as his days with Buffalo Springfield. Young is clear about Before and After's intentions: "Songs from my life recently recorded create a music montage with no beginnings or endings. The feeling is captured, not in pieces but as a whole piece … music defies shuffling, digital organization, separation. Only for listening."  The constant subject throughout is the life affirming powers of having and giving love. With few exceptions the critical segues between tracks are seamless and unobtrusive; opener "I'm the Ocean," a classic Young chord progression that was originally on Mirror Ball, easily blends into "Homefires"—first released on Neil Young Archives Volume II 1972-1976. Young is the entire band on this single track, taken from a 96 kHz/24-bit digital source. (Perhaps as an inside joke, Wilco's Jeff Tweedy is listed in the credits as being an "Electric guitar & Amplifier tech.") He switches from acoustic guitar, harmonica and piano to pump organ occasionally, as he does in the transition between "On the Way Home" to "If You Got Love," an unreleased track from the 1983 Trans sessions. With Young's voice as a constant, there is an undeniable sameness to this continuous design. Except for "Comes a Time," he avoids the hits and concentrates on songs that he's felt were unjustly neglected in the past, or that he's found new meaning in today. That's audibly true in a new version of "When I Hold You in My Arms," his paean to life's inevitable changes. Originally on Are You Passionate?, there's now a renewed certainly as Young brings new fervor to familiar lines:  "Old heart's going up/ Old heart's coming down/ My feelings going up/ My feelings coming down/ You gotta hold onto someone in this life."  © Robert Baird/Qobuz

Highly anticipated since the biopic trend took over Hollywood, the film depicting the Jamaican icon’s ascension to superstardom has been fully approved by the Marley family, with Kingsley Ben-Adir in the role of Bob and eldest son Ziggy as executive producer. To seal the deal, the label Tuff Gong has released a “soundtrack” to the film, which unsurprisingly showcases a number of Bob Marley’s hits, resembling an encore to Legend, with the eternal classics that are “Get Up, Stand Up,” “I Shot the Sheriff,” “Natural Mystic,” “Is This Love” and “Redemption Song”.We also hear the famous version of “No Woman, No Cry” at London’s Rainbow Theatre on June 4, 1977 – a concert that was seized upon for reissues in both 2020 and 2022. From the film, we also find “So Jah S’eh” and a version of “War/No More Trouble” with backing vocals by Naomi Cowan in place of the I-Threes, the new sensation of Jamaican reggae incarnating Marcia Griffiths in the film, and Anna-Sharé Blake, protégée of Protoje, playing Judy Mowatt. On keyboard for this version is Aston Barrett Junior, who takes on the role of his father, Family Man, legendary bassist, orchestra conductor, and scorned composer of the Wailers, who passed away February 3rd, 2024, a few days before the release of One Love, and whose immense career would also be deserving of its own film. © Smaël Bouaici/Qobuz

After a trilogy that propelled them to the top, Imagine Dragons are once again lighting concert halls on fire with a fourth opus: Origins. The Las Vegas band had made an impressive entrance with a subtle blend of rock and pop, adorned with almost dance tones. With Natural, Dan Reynolds sings at the top of his voice over a catchy chorus, a technique used throughout the rest of the album. Energetic and rhythmic choirs (Machine), eighties-style electro bass and romantic vocals (Cool Out), and even folk melodies on the acoustic guitar (West Coast) − Imagine Dragons have gone for eclecticism and it works! Even though they are carrying on the tradition of XXL hit songs and relying on harmonic powers, it’s their punchy songwriting that shines through. Their latest album, Evolve, explored relatively dark territories, whereas with Origins the scope significantly expands: identity problems, messages of hope, realisation of various anxieties… Imagine Dragons express many different emotions. It’s an album that will once again ensure exponential success to these kings of the charts. © Anna Coluthe/Qobuz

Every musician has their standout record, but Exodus is so much more than that for Bob Marley. Not only did this album propel the singer to whole new heights, but it also tells the story of an artist turned statesman. It’s 1976: Bob Marley thinks he’s reached the pinnacle of his career after Eric Clapton reveals his name to the world after covering his song I Shot the Sheriff. After the departure of Peter Tosh and Bunny Wailer two years earlier, Bob Marley is the sole captain of his ship and has become a star in Jamaica, where a tumultuous election is brewing. Michael Manley, the Prime Minister, is up against Edward Seaga, a man who has the support of people living in the Tivoli Gardens district in Kingston. Seaga sent gangs to terrorise other areas of the city that didn’t favour him, and on the 3rd of December 1976, gunmen visited Bob Marley’s house. It was suspected that his political stance was leaning towards Manley, and the singer, his wife Rita and his manager Don Taylor were all shot at. Miraculously, no one died. Injured but still alive, Bob Marley took to the stage two days later at the Smile Jamaica Concert, revealing the wounds beneath his shirt and gaining popularity in the process. Despite this act of bravery, it would be his last show in Jamaica before his self-imposed exile to England.Once across the Atlantic, Bob Marley stepped into Island Studios in January 1977, as if he felt there was some kind of urgency to record his music. The album’s title, Exodus, obviously refers to his own exile, but it’s also a nod to the Rasta concept of repatriation, which advocates for a return to Africa. Feeling ultra-productive, Bob and his musicians recorded about twenty tracks, half of which were used for the following album, Kaya. Whilst the first half of the record is brimming with politically charged lyrics (Natural Mystic, Heathen and Exodus, as well as So Much Things to Say and Guiltiness), the rest is a lot more easy-going, including songs such as Waiting in Vain, Jamming and Three Little Birds. It’s clear Bob wanted to keep things as light-hearted as possible. The album concludes with the legendary Punky Reggae Party, a tribute to the reggae-infused English punk musicians. The track, with its frantic rhythm that’s worlds away from the Wailers typical sound, is a monumental moment, bringing together Lee Perry (who co-wrote the lyrics), Sly Dunbar (drums), and the members of the bands Aswad and Third World, who were also signed to Island.Upon its release, the record was an instant hit. Each single only propelled Bob Marley further into superstardom. When he finally returned to Jamaica on the 22nd of April 1978 for the One Love Peace Concert, he miraculously managed to bring enemies Michael Manley and Edward Seaga together on stage. He forced them to shake hands whilst the Wailers played the hit Jamming… a truly historical moment. © Smaël Bouaici/Qobuz

West Coast rapper ScHoolboy Q's sixth album, Blue Lips, is unrelentingly daring, branching out in multiple stylistic directions but kept cohesive and strong throughout by Q's personality and artistic drive. He effortlessly moves through relaxed, loop-based hip-hop and nostalgic flows on "Cooties," directly into soul-jazz atmospherics on the Freddie Gibbs duet "oHio," and then unexpectedly brings in drum'n'bass breaks on the Ab-Soul-assisted "Foux." In addition to masterfully transitioning between production modes and genre experiments (the horror movie trap of "Back n Love," featuring Devin Malik, is born of an entirely different world than the golden-age funk strings and Jozzy-sung hook of "Lost Times," the song that comes immediately after it), Q tackles heavy lyrical content throughout the album, reflecting on the pitfalls of fame, the fallout of a childhood spent in a fractured family, and navigating depression and loss even while at the top of his game as a rap star. ScHoolboy Q flexes just how easy his craft is for him throughout Blue Lips, switching his styles without blinking while telling some of his most difficult truths.© TiVo Staff /TiVo

A seventh studio album from Chris Martin’s & Co.! So, how does one approach a new album when your name is Coldplay and you’re about to celebrate your twentieth anniversary? The answer comes to us in the form of ‘A Head Full Of Dreams’, and what a response it is! Coldplay may surprise many with what is an exciting, colourful, even festive effort here, with the group leader insisting it's a record apart from attempts. "It’s our seventh thing and the way we look at it it’s like the last Harry Potter book.” He explains to the BBC Radio 1. “That’s not to say there won’t be another thing one day, but this is the completion of something ... I have to think of it as the final thing we’re doing, otherwise we wouldn’t put everything into it.” And indeed they have – featuring Noel Gallagher, Avicii, Merry Clayton, Beyoncé, Gwyneth Paltrow (former Mrs. Martin) and even a certain Barack Obama (sampled on a title), ‘A Head Full Of Dreams’ moves through pop ballads, dancefloor tracks and even almost crosses over into R&B. © CM / Qobuz

After the success of 1974's Natty Dread and 1976's Rastaman Vibration, Bob Marley was not only the most successful reggae musician in the world, he was one of the most powerful men in Jamaica. Powerful enough, in fact, that he was shot by gunmen who broke into his home in December 1976, days before he was to play a massive free concert intended to ease tensions days before a contentious election for Jamaican Prime Minister. In the wake of the assassination attempt, Marley and his band left Jamaica and settled in London for two years, where he recorded 1977's Exodus. Thematically, Exodus represented a subtle but significant shift for Marley; while he continued to speak out against political corruption and for freedom and equality for Third World people, his lyrics dealt less with specifics and more with generalities and the need for peace and love (though "So Much Things to Say," "Guiltiness," and "The Heathen" demonstrate the bullets had taken only so much sting out of Marley's lyrics). And while songs like "Exodus" and "One Love/People Get Ready" were anthemic, they also had less to say than the more pointed material from Marley's earlier albums. However, if Marley had become more wary in his point of view (and not without good cause), his skill as a songwriter was as strong as ever, and Exodus boasted more than a few classics, including the title song, "Three Little Birds," "Waiting in Vain," and "Turn Your Lights Down Low," tunes that defined Marley's gift for sounding laid-back and incisive at once. His gifts as a vocalist were near their peak on these sessions, bringing a broad range of emotional color to his performances, and this lineup of the Wailers -- anchored by bassist Aston "Family Man" Barrett, drummer Carlton Barrett, and guitarist Julian "Junior" Murvin -- is superb, effortlessly in the pocket throughout. Exodus was recorded at a time when Bob Marley was learning about the unexpected costs of international stardom, but it hadn't yet sapped his creative strengths, and this is one of the finest albums in his stellar catalog.© Mark Deming /TiVo

Island continues to promote the legacy of Bob Marley’s music, this time paired with artists from the African continent on the album Africa Unite. The title echoes one of the songs from the album Survival, released in 1979, with its famous sleeve comprised of 48 flags, 47 of them from African countries (but not South Africa, still under the apartheid regime). The record was one of the singer’s most political, advocating for Pan-Africanism and the independence of English colonies. The Jamaican is paired here with a cast of artists from the afrobeat and larger African scenes, and the same formula is repeated across ten tracks, with the chorus sung by Bob Marley placed on top of new arrangements, and the verses covered by the featured artist.As an opener, “So Much Trouble in the World” leads the way, between ska and afrobeat rhythms, with the two Zimbabweans and representatives of “Zimdancehall” Winky D and Nutty O, while the Nigerians Teni and Oxlade deliver a very Afropop version of “Three Little Birds”. Stonebwoy fares pretty well on “Buffalo Soldier”, “Redemption Song” gets a little sun with the South African Ami Faku, and the groove version of “Waiting in Vain” by the Nigerian Tiwa Savage has a certain charm as well. Of course, some purists may make a fuss, but it must be noted that the effectiveness of Bob Marley’s songwriting defies new arrangements just as well as the years that pass. © Smaël Bouaici/Qobuz

When MGMT were asked by their record label for a list of their dream producers, with low expectations they sarcastically replied: Prince, Nigel Godrich, Barack Obama, and "not Sheryl Crow." Columbia returned with Dave Fridmann, the producer extraordinaire best known for his work with Flaming Lips and Mercury Rev. In typical Fridmann fashion, Oracular Spectacular is a glamorous mega-production through and through. Drums are massively distorted and shimmering keyboards are articulately layered as he takes the reins, leading the duo through his daisy chain of onboard compressors, delay units, and whatever other mysterious studio gizmos and gadgets he uses to get his trademark sound. Expectedly, the 14-karat polish enhances MGMT's blend of psychedelic and indie-electro to a shiny sonic gleam, resulting in some of the catchiest pop songs to come from N.Y.C. since the turn of the millennium. The tunes sound classic and new all at once, paying homage to Bowie, the Kinks, and the Stones, while updating traditional progressions with flashes of Royal Trux, Ween, and LCD Soundsystem. It's a wonderful mess of musical ideas, ranging from the dancy disco thump and Bee Gees falsetto of "Electric Feel" to the gritty acoustic-based "Pieces of What," to the grimy synth groove on the anthemic "Time to Pretend." With tongues planted firmly in cheeks, sardonic wit is as abundant as Andrew Van Wyngarden and Ben Goldwasser spoof the stereotypical rock & roll lifestyle with lines like "Lets make some music, make some money, find some models for wives/I'll go to Paris take some heroin and fuck with the stars." Despite the ever-present irony, the songs never feel insincere and the record is inherently strong throughout, making it a solid start to their career.© Jason Lymangrover /TiVo

Dan and Pat have been writing the handbook for rock’n’roll for almost 20 years. A decade after leaving their hometown Akron in Ohio for Nashville, the Black Keys have produced Let’s Rock, a sort of return to the roots of original classic rock that pays homage to the electric guitar from the very first minute to the very last. In other words, the title of the album says it all. After both having worked with various other musicians, the pair have accepted one another’s infidelities and are back together. Dan Auerbach founded the Easy Eye Sound label named after his studio in Nashville, released his second solo album, Waiting on a Song, and produced a fine selection of albums for Yola, Shannon & The Clams, Dee White, Sonny Smith, Robert Finley and Gibson Brothers. Meanwhile, Pat Carney produced and recorded music with Calvin Johnson Michelle Branch, Tobias Jesso, Jr., Jessy Wilson, Tennis, Repeat Repeat, Wild Belle, Sad Planets Turbo Fruits and many more, and last but not least, he wrote the theme-song for BoJack Horseman on Netflix. After this success, Auerbach admits that it felt like the perfect time for their reunion, “That period really cleared my mind, and it made it so much more enjoyable when I got back together with Pat, because we’d had all that time off. I feel like the record is a testament to that feeling”.Let’s Rock revisits all the great big seventies guitar sounds that the duo admire. A vast array ranges from Glenn Schwartz and Joe Walsh from James Gang to Billy Gibbons from ZZ Top and Stealers Wheel (Sit Around and Miss You is very similar to Stuck in the Middle With You), T. Rex, Link Wray (Polydor period), Blue Öyster Cult and many more. “I didn’t want to overthink it” adds Auerbach. “I wanted it to feel spontaneous. I wanted to be able to record something not dissimilar to ‘Louie Louie’ and be perfectly happy with it. I was looking for the Troggs!”. “Funny, I was looking for the Stooges ‘Down on the Street’”, laughs Carney, who insists on his love for “big and dumb songs. They’re my favourite. I think on this record Dan and I came to a similar place in terms of what we wanted.  I was sitting in my studio for the last year just playing electric guitar, and for the first time in a while, Dan was playing a lot of electric guitar. The record is like a homage to electric guitar [..] We took a simple approach and trimmed all the fat like we used to”. All that now remains is the meat, the best bit! © Marc Zisman/Qobuz

Here, Shani Diluka pays homage to the great American minimalist masters of the second half of the 20th century: Moondog, John Adams, Philipp Glass, Julias Eastman. Behind the Pulse title, we have identified a discreet nod to the eponymous work of Steve Reich, leader of the genre and yet curiously absent from the selection. But Pulse is also this notion of an uninterrupted beat, that of the heart, the heart of a country, grappling with its contradictory rhythms: from the frenzy of megacities to time suspended in wide-open spaces. Pianist Shani Diluka takes a tender and fascinating look at these soundscapes which showcase the splendours of a continent-nation (Danny Boy, Shenandoah) and the glaring traumas of its History (The Holy Presence of Joan d'Arc) © Pierre Lamy/Qobuz

Opening with a minor chord strummed on an acoustic guitar somewhere off in the distance, Noel Gallagher's second solo album, Chasing Yesterday, echoes Oasis' second album, (What's the Story) Morning Glory? -- a conscious move from a rocker who's never minded trading in memories of the past. He may be evoking his Brit-pop heyday -- "Lock All the Doors" surges with the cadences of "Morning Glory" even as it interpolates David Essex's "Rock On" -- but it amounts to no more than a wink because Gallagher knows he's two decades older and perhaps a little wiser as well. Certainly, Chasing Yesterday is the work of a musician very comfortable with his craft. Like the first album from High Flying Birds -- a largely anonymous group of pros who make no attempt to steal the spotlight from their leader -- it moves deliberately, never rushing and rarely rocking, preferring to find pleasure in majesty instead of hedonism. Where 2011's HFB kept things a shade too calm -- its reserve almost seemed like a rebuke to the messy id of Gallagher's brother -- Chasing Yesterday occasionally threatens to actually rock, delivering that signature wall of guitars on the aforementioned "Lock All the Doors," mustering up a bit of old-fashioned, cowbell-driven glam boogie on "The Mexican," and quickening the tempo on "You Know We Can't Go Back," a piece of incandescent pop that plays as a resigned companion to "Step Out." Better still, the self-styled epics -- which include the first single "In the Heat of the Moment" and closing "Ballad of the Mighty I," which features grace notes from a guesting Johnny Marr -- pulsate with quiet color, as does "Riverman," a signature piece of stately late-period Beatles pop that would've been drained to grey on HFB. Here, "Riverman" breathes and sighs, taking a moment to slide into a saxophone-accentuated guitar solo straight out of a pre-punk 1976, and this masterful flair is a testament to the control and focus Gallagher displays on Chasing Yesterday. He's not racing after the past, nor is he afraid to seem floridly fussy: he's reveling in his ascendency to the position of one of rock's wise old men.© Stephen Thomas Erlewine /TiVo