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Singularity
Jon Hopkins
Electronic - Released May 4, 2018 | Domino Recording Co
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Pitchfork: Best New Music
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Ocean Rain
Echo And The Bunnymen
Pop - Released February 25, 2022 | WM UK
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The Qobuz Ideal Discography
Amidst the great and eclectic new wave family at the dawn of the 1980s, Echo & the Bunnymen imposed their own voice, which was different from those of the Cure, U2, Simple Minds or the Psychedelic Furs. It was a uniqueness which was in part due to the tortured voice of charismatic crooner Ian McCulloch. After a few fairly sombre first albums, the Bunnymen gradually gave in to a desire for big melodies and richer instrumentation. Ocean Rain is the height of this new turn. Throughout this fourth album, which came out in spring 1984, the ethereal rock of the Liverpool quartet owes as much to the grandiloquence of the great Scott Walker as to the poetry of the Doors or the Byrds, or the torment of Joy Division… Thanks to its mega-slick production and smooth arrangements, the talents of composer McCulloch and the impressionism of Will Sergeant's guitars are magnified all the more. The lyricism of Ocean Rain is, above all, never hackneyed. Draped in tasteful violins, the record reaches its zenith with The Killing Moon, a long and crepuscular ballad, one for putting on repeat… © Marc Zisman/Qobuz
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View With A Room
Julian Lage
Jazz - Released September 16, 2022 | Blue Note Records
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Recognised as a gifted guitarist from a very young age, Julian Lage’s reputation has not made him complacent, nor has he simply capitalised on his knowledge and virtuosity. Instead, he constantly challenges himself, exploring new horizons through unexpected collaborations (from Charles Lloyd to John Zorn!) and ever more ambitious personal projects. This new release comes barely a year after his previous album, Squint, which was the first he released under the prestigious Blue Note label and the first he recorded as part of a spectacular new ‘power trio’ (in which double bassist Jorge Roeder and drummer Dave King join Julian Lage and his guitar). View With A Room (again on Blue Note, with Lage leading the trio) is a record which sees the musicians expand their sonic aesthetic and explore new sound perspectives thanks to modern jazz icon Bill Frisell appearing on two-thirds of the tracks.On ten original compositions exploring all the stylistic registers of Americana (from bluegrass and blues through to modern jazz, folk and pop), the two guitarists gracefully weave their fluid phrasing together, creating deliciously complementary sonic textures and colours. The resulting sound is lush and skilfully paradoxical: both mournful and earthy, dreamlike and energetic. Masterfully orchestrated and arranged, it’s propelled by an inventive rhythm section and brought to life by two guitarists at the top of their game. This exceptional quartet, which is all about interaction and reactivity, has produced a beautiful record–hopefully the first of many. © Stéphane Ollivier/Qobuz
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Surfing With The Alien
Joe Satriani
Pop/Rock - Released January 1, 1987 | Epic
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Surfing with the Alien belongs to its era like Are You Experienced? belongs to its own -- perhaps it doesn't transcend its time the way the Jimi Hendrix Experience's 1967 debut does, but Joe Satriani's 1987 breakthrough can be seen as the gold standard for guitar playing of the mid- to late '80s, an album that captures everything that was good about the glory days of shred. Certainly, Satriani was unique among his peers in that his playing was so fluid that his technical skills never seemed like showboating -- something that was somewhat true of his 1986 debut, Not of This Earth, but on Surfing with the Alien he married this dexterity to a true sense of melodic songcraft, a gift that helped him be that rare thing: a guitar virtuoso who ordinary listeners enjoyed. Nowhere is this more true than on "Always with Me, Always with You," a genuine ballad -- not beefed up with muscular power chords but rather sighing gently with its melody -- but this knack was also evident on the ZZ Top homage "Satch Boogie" and the title track itself, both of which turned into rock radio hits. This melodic facility, plus his fondness for a good old-fashioned three-chord rock, separated Satriani from his shredding peers in 1987, many of whom were quite literally his students. But he was no throwback: he equaled his former students Steve Vai and Kirk Hammett in sweep picking and fretboard acrobatics and he had a sparkling, spacy quality to some of his songs -- particularly the closing stretch of the Middle Eastern-flavored "Lords of Karma," the twinkling "Midnight," and "Echo" -- that was thoroughly modern for 1987. The production of Surfing with the Alien is also thoroughly of its year -- stiff drumbeats, sparkling productions -- so much so that it can seem a bit like a relic from another era, but it's fine that it doesn't transcend its time: it captures the best of its era and is still impressive in that regard.© Stephen Thomas Erlewine /TiVo
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PHASOR
Helado Negro
Alternative & Indie - Released February 9, 2024 | 4AD
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Pitchfork: Best New Music
Helado Negro's music radiates softness and sensuality. The American singer and composer, who sings in both English and Spanish, depending on the mood and emotion, is on a journey toward sonoric fulfillment. His ninth album, Phasor, is deeply inspired by contemplating nature and the fascination that comes from that. This is largely due to one element, a constant presence at its core: the Sal-Mar synthesizer, created in 1969 by composer Salvatore Martirano and a team of engineers from the University of Illinois. From this instrument, he extracts a remarkable warmth, and above all ideas, often transforming them into loops, which he repeats, and, to an extent, modulates, evolving them by adding, taking away, changing or cutting, always with a desire to create music that begs to be cozied up to with its velvety smoothness. Warm, exaggerated bass, ghostlike electronic clinking, fully-embodied melodies…It's a fantastic album, skilfully simple, and capable of describing traffic jams like forests and observing human nature as much as nature itself. © Brice Miclet/Qobuz
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Sun Dew
Héloïse Lefebvre
Contemporary Jazz - Released May 12, 2017 | Laborie Jazz
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LIVING THINGS (Édition Studio Masters)
Linkin Park
Alternative & Indie - Released June 20, 2012 | Warner Records
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Horizon Forbidden West (Original Soundtrack)
Horizon Forbidden West
Film Soundtracks - Released March 25, 2022 | Sony Classical
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Ash & Ice
The Kills
Alternative & Indie - Released June 3, 2016 | Domino Recording Co
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Alison Mosshart and Jamie Hince are back in town and they are still the sexiest Rock’n’Roll duo on the planet! With Ash & Ice, The Kills are most certainly back to their familiar best, with fragmented guitar lines and vintage drum machines featuring front and centre. This fifth album was particularly special for Hince, who suffered from a terrible infection of the tendons in his hand and, as a result, had to learn to play the guitar all over again after no less than 6 different surgeries! It is a wonderful album on which the habitually dark universe of The Kills offers up some serious bright spots. ©MD/Qobuz
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Live At The Jazz Cafe
Olivia Dean
Pop - Released October 22, 2021 | AMF Records
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Halo Infinite
Gareth Coker
Film Soundtracks - Released December 8, 2021 | 343 Industries
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Telekon
Gary Numan
Alternative & Indie - Released September 5, 1980 | Beggars Banquet
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What Am I Gonna Do On Sundays?
Olivia Dean
Alternative & Indie - Released December 4, 2020 | AMF Records
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Songs to Learn & Sing
Echo And The Bunnymen
Alternative & Indie - Released November 13, 1985 | WM UK
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Liverpool's favorite lads Echo & the Bunnymen battled the cathartic reign of the Smiths and the enigmatic synth pop of Depeche Mode and New Order throughout the '80s movement of redesigned post-punk, and they became a staple image as well. Songs to Learn & Sing marked the Bunnymen's cemented place in new wave and relished the crooning ambience of frontman Ian McCulloch. This collection recalls the rise and steadfast career of the band, highlighting the Bunnymen's work between 1980 and 1985 and collecting the most prominent tracks that made the band the waxed poetics the British press hailed them to be (specifically on older cuts like "Do It Clean" and "Rescue"). Frequent use of the band's classic drum machine or "echo" was also a major feature in Bunnymen tracks, especially on the vibrant dance cuts "Never Stop" and "Back of Love." With various production work from the Lightning Seeds' Ian Broudie and Chameleons and Zoo labelmates David Balfe and Bill Drummond (the KLF), Echo & the Bunnymen achieved great cult status throughout the '80s stream of U.K. pop music. Songs to Learn & Sing is a solid and comprehensive collection of the band's material, also introducing the previously unissued album track "Bring on the Dancing Horses," which was featured on the soundtrack to the Molly Ringwald film Pretty in Pink (1986).© MacKenzie Wilson /TiVo
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The Pearl
Harold Budd
New Age - Released January 1, 1984 | Virgin Catalogue
Hearing Budd's piano slowly fade in with the start of "Late October" is just one of those perfect moments -- it's something very distinctly him, made even more so with Eno's touches and slight echo, and it signals the start of a fine album indeed. Acting in some respects as the understandable counterpart to Ambient 2, with the same sense of hushed, ethereal beauty the partnership brought forth on that album, The Pearl is so ridiculously good it instantly shows up much of the mainstream new age as the gloopy schlock that it often is. Eno himself is sensed as a performer on the album, if not by his absence then by his very understated presence. The merest hints of synth and whisper play around Budd's performances, ensuring the latter takes center stage. Eno and Daniel Lanois handle the production side of things, their teamwork once again overseeing a winner. When they bring themselves a little more to the fore, it still always is in the subtlest of ways, as with the artificially higher-pitched notes from Budd on "Lost in the Humming Air." Part of the distinct charm of the album is how the song titles perfectly capture what the music sounds like -- "A Stream With Bright Fish" is almost self-defining. Another key point is how Budd truly captures what ambience in general can and does mean. "Against the Sky" is a strong example -- it can be totally concentrated upon or left to play as atmospherics and is also at once both truly beautiful and not a little haunting in a disturbing sense. Other highlight tracks include the deceptively simple title track, as serene a piece of music as was ever recorded, and the closing "Still Return," bringing The Pearl to a last peak of beauty.© TiVo
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Morning View
Incubus
Rock - Released March 17, 1998 | Epic - Immortal
Fans who discovered Incubus and their album Make Yourself through their massive radio hit "Drive" may be surprised that the band released a follow-up album so quickly. Yet the reality is that Make Yourself was a definitive sleeper hit, never peaking past the Top 50 of Billboard's album charts, but staying on those same charts for close to two years and in the process shifting over two million units. With each successive single that was released, the band gradually moved away from the nu-metal/Ozzfest crowd they had been initially lumped into and revealed the solid songwriting and talent for a good melody underneath the layers of surging guitars. The lessons learned from Make Yourself have definitely been applied to Morning View. While there is still a fair share of aggressive numbers ("Circles," " "Blood on the Ground," and " "Under My Umbrella" arguably the strongest of the harder tracks), the ratio of softer and mellower numbers have increased dramatically, to the point where hardcore fans of earlier material may be bewildered. For the most part, the transition works. "Mexico" is a sparsely arranged acoustic ballad that gives lead singer Brandon Boyd an opportunity to demonstrate his formidable vocal range. "Are You In" is an upbeat, funky tune reminiscent of Sugar Ray (and that's meant in a good way). The most offbeat track is the album closer, "Aqueous Transmission," a tranquil, exotic-sounding ballad that sees the band successfully experimenting with Middle Eastern string arrangements. Not all the experiments gel ("Echo"), and there is a tendency, especially in the middle third of the album, for the songs to sound too similar in sound and tempo, but on the whole, Morning View is a fine follow-up to Make Yourself and a natural progression in the band's musical evolution. While it may not appeal to fans of the harder material, music lovers who like their rock a little less aggressive and a little more ambitious and, well, sensitive should give Morning View a spin.© Deren Svendsen /TiVo
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Porcupine
Echo And The Bunnymen
Pop - Released February 25, 2022 | WM UK
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Echo
Tom Petty & The Heartbreakers
Rock - Released April 2, 1999 | Warner Records
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Although the stripped-down, immediate production of She's the One was reminiscent of Wildflowers, Tom Petty's forays into Lindsey Buckingham-inspired pop turned out to be a passing thing, since Echo, his first full-fledged record with the Heartbreakers since 1991's Into the Great Wide Open, is an extension of Wildflowers, at least in terms of sound and feel. The weird thing is, Echo sounds like a sinewy band recording, but its sentiment makes it feel like a solo record. To be blunt, much of Echo feels like a by-product of Petty's divorce from his wife of over 20 years; even the intoxicating hard rock of "Free Girl Now" has a layer of sorrow and regret. That weary melancholy is the bond that keeps Echo together, bridging the gap between the ballads and the rockers, providing an emotional touchstone that makes the record more than just another Petty record. Then again, the music on Echo manages to sound like every other Petty album, yet it stays fresh. Petty, Mike Campbell, and Rick Rubin (along with some help from George Drakoulias) keep the spirit of Wildflowers alive by keeping the production uncluttered, direct, and muscular -- which just reveals what a strong, versatile band the Heartbreakers are. And while there are no surprises, Petty once again delivers an album that works as a whole while having several clear highlights -- which is a pretty neat trick, actually. At times, the disc feels a little long, but all the pieces work individually and illustrate that Petty is the rare rocker who knows how to mature gracefully. Although the album is spiked with sadness and regret, nothing on the album feels forced or self-conscious, either lyrically or musically -- and he is one of the few rockers of his generation that can make such a claim.© Stephen Thomas Erlewine /TiVo
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