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Happier Than Ever (Explicit)
Billie Eilish
Alternative & Indie - Released July 30, 2021 | Darkroom - Interscope Records
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It goes without saying that this second album was hotly anticipated. Having shot to international superstardom with When We All Fall Asleep, Where Do We Go? and having already taken five Grammy Awards, Billie Eilish has flipped the script without changing the fundamentals. Her tortured dark pop has evolved with the ironically-titled Happier Than Ever. "Almost none of the songs on this album are joyful", she points out. Take the cover, where she poses as Our Lady of Sorrows, this gifted but tearful icon chooses to clothe yesterday's sorrows in soft and voluptuous pop sounds. Where the last album was all about nightmarish fiction, this more intimate work takes a realist turn. Very eclectic musically, sometimes vintage, sometimes futuristic, its sixteen tracks rack up one surprise after another: Billie is never where you expect her to be.The sequences are carefully worked-out. Eilish oscillates between slow tempos (Getting Older, Billie bossa nova) and haunting EDM beats on Oxytocin – the hormone of love – or minimalist sounds (as on OverHeated), making for an amazing mix of genres. Thus, among Grimes-like syncopated choruses (GOLDWING), autotuned R'N'B (NDA) in the style of 070 Shake, folk ballads (Halley's Comet) and spartan soundscapes (Not My Responsibility), she manages to slip in the guitar-vocals number "Your Power", an emotional peak on which she speaks about suffering abuse. Accompanied by her brother, Finneas O'Connell, an enjoying a slick production job, Billie Eilish has created a masterful record which she hoped would prove timeless. That ambition is easy to understand when she mentions Frank Sinatra, Antonio Carlos Jobim and Julie London as influences. "It was the most enriching and deepest experience I have ever had with my music," she says. Fortunately, at just 19, there are likely to be many more. © Charlotte Saintoin / Qobuz
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The Future Is Now
Chick Corea Elektric Band
Jazz - Released November 3, 2023 | Candid
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Founded in 1986, The Chick Corea Elektric Band has long held a high standard, with Eric Marienthal on saxophones, Frank Gambale on guitar, John Patitucci on electric bass, and Dave Weckl on drums. It’s the ensemble with whom brilliant keyboardist, Chick Corea, (pioneer of the genre since the creation of the band Return to Forever in 1972) has been able to experiment with writing jazz fusion the most – both in its grooves, and its sonic textures. After changing the group’s makeup several times and reforming the initial group around the 2000s (see To the Stars released in 2004), Corea led this all-star lineup for his last major “electric” tours, between 2016 and 2018 (before his death in February 2021 from cancer). This album The Future Is Now gives us the opportunity to hear unreleased excerpts from his final tour.Featuring long and epic performances of some of Corea’s biggest hits, while leaving plenty of room for individual improvisation, the Chick Corea Elektric Band appears here at its best and most seductive. Their organic cohesion, resulting from their collective arrangements that are as sophisticated as they are effective, is balanced with luxurious instrumental virtuosity constantly going beyond the framework of the original songs. The group offers two long hours of consistently lyrical and accessible music, released here for the first time ever. © Stéphane Ollivier/Qobuz
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Bright Future
Adrianne Lenker
Alternative & Indie - Released March 22, 2024 | 4AD
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Distinctions
Pitchfork: Best New Music
Adrianne Lenker is an astoundingly prolific songwriter. As leader of Big Thief, she wrote the band's 2022 double album, Dragon New Warm Mountain I Believe in You. Bookending that, she penned a pair of solo albums (2020's Songs and Instrumentals) and the new Bright Future. Lenker recorded Bright Future in a solitary analog studio with co-producer Philip Weinrobe and a core group of musicians: Nick Hakim, Mat Davidson, and Josefin Runsteen. Owing to this stripped-down configuration, the album possesses an earthy feel dominated by acoustic guitars, spectral piano, and Lenker's intimate vocals. The musicians layer bewitching harmonies on the country-leaning "Already Lost," while opening track "Real House" starts with an audible creak, as if someone is settling into a chair, and gives way to vivid, stream-of-consciousness lyrics: "Do you remember coming to the hospital when I was 14?/ My friends all left me there spinning/ Dad was angry that you saw everything." The latter track sets the tone for the rest of Bright Future, which finds Lenker in an especially vulnerable, confessional mood. "Candleflame" is a solemn acoustic number infused with a spiritual vibe; "Fool" recalls the homespun songs of early Liz Phair; and Lenker reaches into her falsetto range to match light-touch piano on "Evol." The original recording of Big Thief's "Vampire Empire" is scratchy, lo-fi indie rock instead of spectral pop, giving the song new dimensions. And the album-closing "Ruined" is gentle and devastating, with spacious arrangements, deep-space twinkling production and Lenker sounding weary as she sings, "Can't get enough of you/ You come around I'm ruined." In the end, Bright Future illustrates that Lenker's quality control never wavers in spite of her songwriting productivity—and celebrates the joy of collaboration and creativity. © Annie Zaleski/Qobuz
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Future Nostalgia
Dua Lipa
Pop - Released December 13, 2019 | Warner Records
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With her album Future Nostalgia, Dua Lipa perfectly summed up what pop was becoming: a playground more and more quickly digesting the global sound system, in commercial shackles thanks to rapidly changing musical consumption, to be sublimated and taken out on all sides. Besides, isn't that what British music has always done? Originally from London, the singer released a deluxe version of Future Nostalgia, entitled Moonlight Edition, adding eight tracks to the original, including the single We’re Good, along with songs released earlier in 2020 like the single version of her duet with DaBaby, Levitating. Those additions give Future Nostalgia a more rap-oriented accent, less rooted in synthetic disco, namely the duet with American rapper J.I.D. entitled Not My Problem, is the highlight of this reissue. © Brice Miclet/Qobuz
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Days Of Future Passed (Remastered 2017)
The Moody Blues
Rock - Released November 10, 1967 | UMC (Universal Music Catalogue)
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Reissued November 24, 2017
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Heaven :x: Hell
Sum 41
Alternative & Indie - Released March 15, 2024 | Rise Records
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Capping nearly three decades on the scene, Sum 41 bid farewell the only way they really could: merging their punk and metal extremes on the sprawling double album Heaven :x: Hell. All those years of stylistic evolution collide on this 20-song collection, which is split evenly into the pop-punk Heaven side and the metal-leaning Hell side (naturally). Finding the sweet spot among Billy Talent, Green Day, and blink-182, this is standard, anthemic pop-punk goodness, designed for pogo-bops, fist-pumping, and light moshing, all centered on Deryck Whibley's acrobatic vocals. The big singalong choruses of catchy standouts like "Dopamine" and "Bad Mistake" ride Frank Zummo's freewheeling drumming, as the twin guitar attack of Dave Baksh and Tom Thacker propel this track headlong into the sunset. Heaven, according to Sum 41, sounds fun, urgent, and energetic (even when the lyrics say otherwise). Descending into Hell, fans of 2016's 13 Voices and 2019's Order in Decline will have plenty to enjoy as the relatively lighthearted punk fest gives way to a hardened, emotionally charged whirlpool of rage and frustration. The pummeling "Rise Up" crushes with a head-caving breakdown and death scream, while the hardcore "Stranger in These Times" shreds and tears its way through "imbecilic morons" and Whibley's insecurities. Hell highlight "I Don't Need Anyone" lurches its way atop Jason McCaslin's bass groove before a killer guitar solo slashes its way through this metal assault, just as emotions are pushed to the limit on the Linkin Park-leaning "How the End Begins." There's even a martial cover of the Rolling Stones' "Paint It Black" that showcases their technical skill and adaptability (especially on the breakdown). Regardless of which Sum 41 you prefer, there are two expertly executed albums here, each highlighting just how this group has grown from being rascally jokesters to hardened, concerned members of society. As far as swan songs go, Heaven :x: Hell is a heartfelt goodbye to fans, an overly generous gift that aims to please the full spectrum of diehards and thank them for all their years of dedication.© Neil Z. Yeung /TiVo
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Keep on Keeping On. Studio Albums 1970-74 (2019 Remaster)
Curtis Mayfield
Soul - Released February 22, 2019 | Rhino
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Distinctions
The Qobuz Ideal Discography
A guitarist worshipped by Jimi Hendrix, an insanely good falsetto singer that even Prince looked up to, an author heavily involved in the American civil rights movement and a top-tier songwriter: Curtis Mayfield was a man of many talents. His groovy symphonies helped form solid links between funk, jazz, blues, soul and traditional gospel. After making his name with The Impressions in the 60s, he embarked on a solo career in 1970. This box set named Keep On Keeping On contains the singer’s first four studio albums, each remastered in Hi-Res 24-Bit quality: Curtis (1970), Roots (1971), Back to the World (1973) and Sweet Exorcist (1974). Here, the rhythm'n'blues enjoy a second life, supported by a wah-wah guitar, careful percussion and an always airy string section. Every topic concerned is a mini-tragedy, socially engaged, anchored in traditional gospel music. The masterful arranging of these albums (especially his masterpiece Curtis, and Roots) can be considered rivals to Marvin Gaye’s What’s Going On. It is worth mentioning that this 1970-1974 box set does not include the soundtrack to Superfly, Gordon Parks Jr.’s 1972 film which contains the singles Pusherman and Freddie’s Dead. © Marc Zisman/Qobuz
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HIStory: Past, Present and Future, Book I
Michael Jackson
Soul - Released June 16, 1995 | Epic
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WE DON'T TRUST YOU
Future
Hip-Hop/Rap - Released March 22, 2024 | Wilburn Holding Co. - Boominati - Epic - Republic
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Notably, producer Metro Boomin didn't contribute to Future's 2022 album I Never Liked You, and he later explained in an interview that he was saving material for a full collaboration between the two. WE DON'T TRUST YOU is the first album co-billed to the longtime creative partners, and it finds the rap luminaries more or less staying in their respective lanes. Metro Boomin's beats are typically cold and ominous yet lustrous, and Future sticks to familiar subjects such as drugs, sex, and luxury fashion. Kendrick Lamar pops up for a guest verse on "Like That," and as expected, his presence is so magnetic that he threatens to steal the show for a moment. Rick Ross does his thing on "Everyday Hustle," which uncovers an obscure Philly soul gem (Alfreda Brockington's "I'll Wait for You") for its beat. Other guests appearing on the album include the Weeknd, Travis Scott, and Playboi Carti. WE DON'T TRUST YOU became Future's ninth Billboard 200 chart-topper and Metro Boomin's fourth.© TiVo Staff /TiVo
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People Who Aren’t There Anymore
Future Islands
Alternative & Indie - Released January 26, 2024 | 4AD
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Jack In The Box
J-hope
K-Pop - Released July 15, 2022 | BIGHIT MUSIC
A month after K-pop superstars BTS announced they were taking a break from group activities, bandmember and rapper J-Hope released his debut solo full-length, Jack in the Box. As the first member to officially step out on his own, the artist born Jung Ho-seok delivers emotional depth and irresistible energy. Backed by rowdy production, his aggression, raspy delivery, and tongue-twisting bars take center stage, showcasing the rap-focused perspective that he brings to the BTS formula. His introspection also comes to the fore, balancing tempered optimism ("STOP"), hope for change ("= [Equal Sign]"), and comfort ("Safety Zone") with the contemplation of fame (the explosive "MORE") and his place in a broken world (the haunting "Pandora's Box"). It's a lot to pack into roughly 20 minutes, but J-Hope manages with equal parts heart and fire, like on the closing track "Arson." Longtime BTS fans who are familiar with the group's early rap-heavy days will delight at the hard beats and nostalgic production, which echo the best of old-school East Coast hip-hop (right down to the satisfying sample of Ol' Dirty Bastard's "Shimmy Shimmy Ya" on the rousing "What If..."). Of course, diehards will eagerly await the day when the BTS hiatus ends, but if the rest of the group members produce solo endeavors of this caliber, then that uncertain period should fly by quickly.© Neil Z. Yeung /TiVo
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Blade Runner
Vangelis
Pop - Released June 6, 1994 | EastWest U.K.
Distinctions
The Qobuz Ideal Discography
Arriving 12 years after the release of the film, Vangelis' soundtrack to the 1982 futuristic noir detective thriller Blade Runner is as bleak and electronically chilling as the film itself. By subtly interspersing clips of dialogue and sounds from the film, Vangelis creates haunting soundscapes with whispered subtexts and sweeping revelations, drawing inspiration from Middle Eastern textures and evoking neo-classical structures. Often cold and forlorn, the listener can almost hear the indifferent winds blowing through the neon and metal cityscapes of Los Angeles in 2019. The sultry, saxophone-driven "Love Theme" has since gone on as one of the composer's most recognized pieces and stands alone as one of the few warm refuges on an otherwise darkly cold (but beautiful) score. An unfortunate inclusion of the 1930s-inspired ballad "One More Kiss, Dear" interrupts the futuristic synthesized flow of the album with a muted trumpet and Rudy Vallée-style croon. However well done (and appropriate in the movie), a forlorn love song that sounds as if it is playing on a distant Philco radio in The Walton's living room jarringly breaks the mood of the album momentarily (although with CD technology, this distraction is easily bypassed). Fans of Ridley Scott's groundbreaking film (as well as those interested in the evolution of electronic music) will warmly take this recording into their plastic-carbide-alloy hearts.© Zac Johnson /TiVo
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Caravanserai
Santana
Rock - Released October 11, 1972 | Columbia
Hi-Res
Drawing on rock, salsa, and jazz, Santana recorded one imaginative, unpredictable gem after another during the 1970s. But Caravanserai is daring even by Santana's high standards. Carlos Santana was obviously very hip to jazz fusion -- something the innovative guitarist provides a generous dose of on the largely instrumental Caravanserai. Whether its approach is jazz-rock or simply rock, this album is consistently inspired and quite adventurous. Full of heartfelt, introspective guitar solos, it lacks the immediacy of Santana or Abraxas. Like the type of jazz that influenced it, this pearl (which marked the beginning of keyboardist/composer Tom Coster's highly beneficial membership in the band) requires a number of listenings in order to be absorbed and fully appreciated. But make no mistake: this is one of Santana's finest accomplishments.© Alex Henderson /TiVo
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Jack In The Box
J-hope
K-Pop - Released July 15, 2022 | BIGHIT MUSIC
A month after K-pop superstars BTS announced they were taking a break from group activities, bandmember and rapper J-Hope released his debut solo full-length, Jack in the Box. As the first member to officially step out on his own, the artist born Jung Ho-seok delivers emotional depth and irresistible energy. Backed by rowdy production, his aggression, raspy delivery, and tongue-twisting bars take center stage, showcasing the rap-focused perspective that he brings to the BTS formula. His introspection also comes to the fore, balancing tempered optimism ("STOP"), hope for change ("= [Equal Sign]"), and comfort ("Safety Zone") with the contemplation of fame (the explosive "MORE") and his place in a broken world (the haunting "Pandora's Box"). It's a lot to pack into roughly 20 minutes, but J-Hope manages with equal parts heart and fire, like on the closing track "Arson." Longtime BTS fans who are familiar with the group's early rap-heavy days will delight at the hard beats and nostalgic production, which echo the best of old-school East Coast hip-hop (right down to the satisfying sample of Ol' Dirty Bastard's "Shimmy Shimmy Ya" on the rousing "What If..."). Of course, diehards will eagerly await the day when the BTS hiatus ends, but if the rest of the group members produce solo endeavors of this caliber, then that uncertain period should fly by quickly.© Neil Z. Yeung /TiVo
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Oracular Spectacular
MGMT
Pop/Rock - Released January 1, 2007 | Red Ink - Columbia
Distinctions
The Qobuz Ideal Discography
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
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Blessings and Miracles
Santana
Rock - Released October 15, 2021 | BMG Rights Management (US) LLC
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Fusion, transcendence: it's what he's always done. At 74, Carlos Santana is still as curious as ever, and his 26th studio album brings together all his current interests, with an unabashedly popularising aim. With this record, the Mexican-born guitarist wanted to "return to radio". And this album has all the ingredients to make its mark on the airwaves in the coming months. First of all, he relaunched his duet with Rob Thomas, which had won a Grammy for Smooth at the time of Supernatural, Santana's 1999 comeback album. And the very groovy track Move looks set to do it again. The cover of Manu Dibango's Soul Fiesta (taken from 1972’s Africadelic), here becomes Santana Celebration, an intro in the form of a percussion and wah-wah jam, is also a noteworthy track.Santana then wanders between Latin music (Rumbalero with Asdru Sierra from the Californian band Ozomatli), pop passages (Break, Breathing Underwater, She's Fire) and high-quality guest appearances, starting with Joy, with country singer Chris Stapleton coming in for a well-oiled reggae/blues double-act, and a cover of Procol Harum's Whiter Shade of Pale featuring Steve Winwood. But the highlight of the album is the encounter with Kirk Hammett, the guitarist of Metallica (+ Mark Osegueda, the singer in Death Angels) on America for Sale, six minutes of rage with a totally unbridled finale featuring these two guitar heroes. Note also that Blessings & Miracles contains Chick Corea's very final recording, on Angel Choir / All Together. The legendary American pianist, who died in February 2021, had sent over a keyboard part, which Santana embellished with his guitar, creating an excellent jazz-rock track, rounded out by the musician’s widow, Gayle Moran Corea, who provided the opening chorus. © Smaël Bouaici/Qobuz
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WE STILL DON'T TRUST YOU
Future
Hip-Hop/Rap - Released April 12, 2024 | Wilburn Holding Co. - Boominati - Epic - Republic
Hi-Res
Three weeks after Future and Metro Boomin released the chart-topping collaboration WE DON'T TRUST YOU, the two followed it up with another, WE STILL DON'T TRUST YOU. A distinct work and not a deluxe edition of the previous release, WE STILL DON'T TRUST YOU is a nearly 90-minute sprawl divided into two parts. The first, which takes up more than an hour, is a diversion from the duo's usual trap sound. The opening title track features the Weeknd, and it sounds similar to his blend of dark, neon synth pop and downer R&B. The other songs aren't as clubby, but they often feature glossy synths and aching melodies. The Weeknd makes two more appearances, Ty Dolla $ign pops up, Brownstone are given a feature credit for a garbled sample of "If You Love Me," and J. Cole has a guest verse on the breezy "Red Leather," although it's not entirely clear if his appearance has anything to do with his well-publicized beef with Kendrick Lamar, who guested on WE DON'T TRUST YOU's "Like That." The brief second part of WE STILL DON'T TRUST YOU, consisting of a Charlamagne tha God radio intro and just six songs, is a return to hard trap, with Lil Baby and A$AP Rocky providing guest verses.© TiVo Staff /TiVo
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Diamond Dogs
David Bowie
Rock - Released May 24, 1974 | Parlophone UK
Hi-Res
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