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The Dark Side of the Moog, Vol. 9
Klaus Schulze
Electronic - Released May 27, 2016 | M. i. G. - music
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The Dark Side of the Moog
Klaus Schulze
Electronic - Released January 29, 2016 | M. i. G. - music
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The Dark Side of the Moog (Complete Version, Vol. 3)
Klaus Schulze
Electronic - Released May 27, 2016 | M. i. G. - music
The Steven Wilson Remixes
Yes
Pop/Rock - Released June 29, 2018 | Rhino Atlantic
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In 2013, in addition to his many recording and remixing projects, Steven Wilson remixed a sizable chunk of the Yes catalog. Interestingly, he didn't proceed chronologically, but by using an inner aesthetic that has become his trademark through previous projects with King Crimson and Jethro Tull. In 2013, he completed 1972's Close to the Edge; in 2014, he did a stellar job on 1974's Relayer (arguably never properly heard until this mix) and 1971's The Yes Album. The following year it was 1972's Fragile, and in 2016, 1973's double-length Tales from Topographic Oceans. These high-resolution remixes were previously available only on Blu-ray and DVD (while the conventional CDs contained 16/44.1 resolution mixes). In commemoration of Yes' 50th anniversary, Rhino has boxed and re-released all of these titles on vinyl. According to Wilson, they have used the 24/96 hi-res, DVD-A/Blu-ray mixes for each LP. The outer housing of the package features artwork created specifically for this set by original album artist Roger Dean -- whose work has been synonymous with the band's identity for more than 40 years. Additionally, two of these albums – Close to the Edge and Tales from Topographic Oceans -- feature brand-new cover art, while the remaining three covers were reworked by Dean.© Thom Jurek /TiVo
In 2013, in addition to his many recording and remixing projects, Steven Wilson remixed a sizable chunk of the Yes catalog. Interestingly, he didn't proceed chronologically, but by using an inner aesthetic that has become his trademark through previous projects with King Crimson and Jethro Tull. In 2013, he completed 1972's Close to the Edge; in 2014, he did a stellar job on 1974's Relayer (arguably never properly heard until this mix) and 1971's The Yes Album. The following year it was 1972's Fragile, and in 2016, 1973's double-length Tales from Topographic Oceans. These high-resolution remixes were previously available only on Blu-ray and DVD (while the conventional CDs contained 16/44.1 resolution mixes). In commemoration of Yes' 50th anniversary, Rhino has boxed and re-released all of these titles on vinyl. According to Wilson, they have used the 24/96 hi-res, DVD-A/Blu-ray mixes for each LP. The outer housing of the package features artwork created specifically for this set by original album artist Roger Dean -- whose work has been synonymous with the band's identity for more than 40 years. Additionally, two of these albums – Close to the Edge and Tales from Topographic Oceans -- feature brand-new cover art, while the remaining three covers were reworked by Dean.© Thom Jurek /TiVo
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Perpetulum
Philip Glass
Classical - Released December 16, 2022 | Orange Mountain Music
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The Dark Side of the Moog, Pt. 1
Klaus Schulze
Electronic - Released January 29, 2016 | M. i. G. - music
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Boxed In
Daniel Casimir
Jazz - Released November 5, 2021 | Jazz Re freshed
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Metallic Spheres In Colour
The Orb
Electronic - Released September 29, 2023 | Columbia - Legacy
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Leaders of psychedelia in their respective generations, one captivated by LSD, the other by ecstasy, Pink Floyd and The Orb were destined to cross paths one day, in this life or the next. This finally occurred in 2009, in this dimension, when David Gilmour, the guitarist and singer of Floyd was working on a record in support of the British hacker Gary McKinnon, who was at risk of being extradited to the USA. Gilmour contacted Martin “Youth” Glover, producer and bassist of Killing Joke, as well as unofficial member of The Orb, which was led since the beginning by Alex Paterson. The trio met up in the studio for a day and Gilmour played his guitar over a Vangelis-like beat concocted by Youth and Alex Paterson, which resulted in the album “Metallic Spheres,” with two soaring tracks of 28 and 20 minutes long.Almost fifteen years later, Youth and Paterson decided to return to the project in order to give it a colour more in keeping with the work of The Orb, thus leading to a version of “Metallic Sphere”, now “in Colour.” “Alex [...] could have done more on the first version, and he didn’t really have the opportunity because we had a philosophy of making the music like the Blade Runner soundtrack meets Wish You Were Here. So, I asked him, Why don’t we remix it and make it like an Orb classic? And in doing that, it’s almost like a completely different album,” Youth explains. Didgeridoo, bird sounds, an aurora borealis of synths, film clips, dublike atmospheres that become more and more ambient as the four tracks go on, and finishing entirely in the cosmos during the last ten minutes, perfectly fulfilling all contractual obligations. A record to let play in the background so that your vibratory frequency shoots up the Bovis scale. © Smaël Bouaici/Qobuz
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Magic 3
Nas
Hip-Hop/Rap - Released September 14, 2023 | Mass Appeal
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“It’s a new decade, I’m in a whole new arena.” Nas knows that times have changed. But he’s at it again: his ability to depict his world and feelings makes him a rapper that is anything but irrelevant, even at 50 years old. His series of collaborations with the producer Hit-Boy continues with Magic 3, an album characterized by its writer’s ability to present himself as a role model, now and forever, and by his incomparable way of avoiding an ego trip. Magic 3 differs from its predecessors. Hit-Boy changes his production paradigm, still based on sampling, yes, but with samples that he modifies only slightly and loops with respect. He can then compose with the original rhythmics, taking away some of the heaviness in order to lean into the variety in the beats. And then, sometimes, just because he feels like it, and also because it’s important to make your voice heard, hip hop reclaims its musical rights, warlike, for example on the track “I Love This Feeling.” The two heavyweights manage, yet again, to draw in the listener thanks to their technique and expertise. © Brice Miclet/Qobuz
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The Resistance
Muse
Alternative & Indie - Released September 10, 2009 | Warner Records
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Maestro: Music by Leonard Bernstein
London Symphony Orchestra
Classical - Released November 17, 2023 | Deutsche Grammophon (DG)
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Booklet
Distinctions
Qobuz Album of the Week
The tale of American composer Leonard Bernstein is at the centre of the film Maestro, released in September 2023 on Netflix and starring Bradley Cooper. The biopic retraces the immense career of a man who first became familiar with classical composers like Schumann, Strauss, and Beethoven, before skyrocketing to worldwide fame as Broadway’s star composer. Musical theatre, film music, ballets, symphonic works…this musical eclecticism is transcribed in the soundtrack for Maestro, created by one of his greatest fans, conductor Yannick Nézet-Séguin of Québec. Much of the music features Bernstein’s own works, such as “On the Town” (1944) and “Fancy Free” (1944), as well as “West Side Story” (1957) and “Mass” (1971). The album also includes the likes of Mahler and Beethoven, composers that greatly influenced Bernstein: the legendary 1973 “Symphony No. 2 ‘Resurrection’” concert with the London Symphony Orchestra is presented in the film, conducted by director and lead actor Bradley Cooper, who reincarnates this legend of 20th-century music. © Lena Germann/Qobuz
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Hamelin: New Piano Works
Marc-André Hamelin
Classical - Released February 2, 2024 | Hyperion
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Marc-André Hamelin, by general acclaim, one of the great virtuosos of the day, here attempts to recapture the compositional as well as technical spirit of the pianistic giants of the past. Liszt, of course, was a pianist-composer, but he was not the only one. Hamelin issued an album of his own etudes in 2010, but in these "New Piano Works," mostly composed during the 2010s, he is even more adventurous. Many of these works are variations of one kind or another, and Hamelin starts off with his own Variations on a Theme of Paganini, previously essayed by Liszt, Rachmaninov, and several others. These variations introduce not only the usual high level of virtuosity but also the eclectic range of references in most of these works; he quotes Rachmaninov's set and also alludes to Alkan, Chopin, Brahms, and others. The variation form is ideal for Hamelin's project, for he can drop in quotations and allusions the same as a 19th century virtuoso would. His Variations diabellique sur des thèmes de Beethoven is a wickedly humorous exegesis on Beethoven's Variations on a Waltz by Diabelli, Op. 120. There are hints of jazz in some of Hamelin's variations, and these flower fully in the Suite à l'ancienne, which annotator Francis Pott proposes as a tribute to the jazz-classical fusionist Nikolai Kapustin; he composed a similar Suite in the Old Style. Hamelin concludes with an explosive Toccata on l'Homme Armé, the medieval tune that served as the basis for numerous Renaissance masses. So Hamelin's range of references is wide, but it is never random, and the listener who missed the subtler allusions will still enjoy the music. This is a bold, highly entertaining re-creation of the role of the classic virtuoso, idiomatically and clearly recorded at London's Henry Wood Hall. This release made classical best-seller lists in early 2024.© James Manheim /TiVo
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Symbiosis
Bill Evans
Jazz - Released June 3, 1974 | MPS
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Bill Evans’ enormous discography is so big that some of his albums fall too quickly into the oblivion. Published in 1974 by the German label MPS, Symbiosis is one of his overlooked albums for you to rediscover without delay! Recorded in the CBS studio on the 30th road of New York on the 11th, 12th and 14th of February 1974, he is reminiscent of the pianists interest for classical and Third Stream music, this current that oozed out the brain of Gunther Schuller synthesizing classical western music and jazz. Composed by Claus Ogerman who Evans had hired in 1965 for his album Bill Evans Trio With Symphony Orchestra, this concert work for the jazz trio and symphony orchestra mixes both written and improvised passages. We find both tonal and serial writing throughout this recording, giving a result that would make Glenn Gould go on to say, in one of his radio emissions, that Symbiosis is a "remarkable and marvelous" work. Gould would later add that Ogerman has an "astonishing harmonic inventiveness" but concerning Bill Evans, there are "too many contradictions between the improvised parts, or supposedly improvised, from someone as gifted as Bill Evans and the very sophisticated well-structured scaffolding implemented by Ogerman". Surrounded by his disciples Eddie Gomez on the double bass and Marty Morell on the drums, Bill Evans is far from being as uninspired as his fellow Canadian. His singular approach, out of this world even, surely baffled more than a few people in the past. But, with the help of time, we are still amazed by the beauty and the intelligence of the changes of rhythms and colours. And by the work itself. © MD / Qobuz
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Baldur's Gate 3 (Original Game Soundtrack)
Borislav Slavov
Film Soundtracks - Released August 3, 2023 | Borislav Slavov
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Signature Philip Glass
Angèle Dubeau
Classical - Released November 3, 2023 | Les Productions Analekta Inc.
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With the continuing popularity of Philip Glass' music, various performers have arranged it for new combinations. He hasn't been notably dismayed by this, and indeed, one might draw a comparison with Arvo Pärt, whose works, to some extent, come into their own as they are performed in different versions. This release by veteran violinist Angèle Dubeau and her ensemble La Pietà is unique thus far. Dubeau reduces some larger items, like an excerpt from the Koyaanisqatsi film score, to chamber ensemble dimensions while performing some of Glass' relatively sparse output of chamber music unaltered. This results in some interesting insights, for example, that the chamber music, although for the most part relatively recent, mostly sticks closer to the minimalist core of Glass' style than the larger pieces, which open that style up to harmonic motion on a bigger scale. Dubeau thus shines a novel lens on Glass' music as a whole. The performances are arresting, with the edge of tension that makes a strong Glass performance, and the Analekta label wisely departs from its frequent choice of Montreal churches for the Multimedia Room at McGill University, an ideal space. Even those with large Glass collections will want to add this unusual release.© James Manheim /TiVo
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Dreamcatcher
Lee Ritenour
Jazz - Released December 4, 2020 | The Players Club
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It's hard to believe that in his over-50-year career, guitarist Lee Ritenour has never released a solo guitar album. He rectifies that fact on 2020's warmly delivered Dreamcatcher. The record follows Ritenour's star-studded 2015 album A Twist of Rit, in which he reworked songs from throughout his career with a bevy of special guests. Dreamcatcher finds him taking a more introspective, stripped-down approach, but one that still showcases his lyricism and adept fretboard skills. Recorded during the COVID-19 pandemic, Ritenour produced the album himself at his home, working remotely with studio assistance by Gary Lee and Brian McShea. There's an intimacy to the recordings that has the feeling of a small private concert, or it's as if you're eavesdropping on Ritenour just jamming for his own pleasure. Comfortable in electric and acoustic settings, and with a career that has straddled the rock, jazz, and pop worlds, the guitarist takes an equally expansive approach on Dreamcatcher. He dips into folky acoustic balladry on "Starlight," draws upon the sophisticated hollow-body style of Wes Montgomery on "The Lighthouse," and weaves a delicate patchwork of nylon-string harmonies on the classical-leaning title track. He even rips into far-eyed electric jazz-rock on "Abbot Kinney." There's a shimmering, textural quality to many of these songs as Ritenour laces together his warm melodies using just a modicum of aftereffects. We also get the nicely arranged "Couldn't Help Myself," a flowing instrumental that evokes Ritenour's '70s fusion work and features a mix of synths, percussion, and over 20 guitar tracks. Dreamcatcher is a relaxing, deceptively understated album that showcases Ritenour's laid-back virtuosity.© Matt Collar /TiVo
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Équinoxe
Jean Michel Jarre
Ambient - Released January 1, 1978 | Disques Dreyfus
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As the follow-up album to Oxygene, Equinoxe offers the same mesmerizing affect, with rapid spinning sequencer washes and bubbling synthesizer portions all lilting back and forth to stardust scatterings of electronic pastiches. Using more than 13 different types of synthesizers, Jarre combines whirling soundscapes of multi-textured effects, passages, and sometimes suites to culminate interesting electronic atmospheres. Never repeating the same sounds twice, it is obvious that the science fiction hype of the late '70s played a large part in the making of this album. Computerized rhythms and keyboard-soaked transitions scurry by, replaced by even quicker, more illustrious ones soon after. There is always a pulsating beat or a fluttering tempo happening somewhere in each of the tracks, which are titled as a numbered sequence one to eight. Each track harbors its own energy and electronic fleetness, but none are identical in sound or pace. So much electronic color is added to every track that it is impossible to concentrate on any particular segment, resulting in waves of synth drowning the ears at high tide.© Mike DeGagne /TiVo
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Metropolis, Pt. 2: Scenes from a Memory
Dream Theater
Metal - Released January 1, 1999 | Atlantic Records
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Deus Arrakis
Klaus Schulze
Electronic - Released June 10, 2022 | SPV Recordings
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This is the last album written by Klaus Schulze, who sadly passed away on the 26th of April 2022 at the age of 74. His discography is vast (with over 50 albums), but this one is particularly special since it’s the album he composed immediately after the soundtrack for Dune 2021. The ex-drummer of Tangerine Dream released an album in 1979 called Dune, which was made to accompany a (scrapped) adaptation project of Frank Herbert’s novel. Unfortunately, it was the band Toto that eventually ended up composing the soundtrack of Lynch’s 1984 film adaptation. Three decades later, the announcement of Denis Villeneuve’s remake brought Schulze’s attention back to the original books. Schulze was a huge fan of these books; in his 1978 album, X, he even named a track Frank Herbert. Years later, Hans Zimmer was charged with producing the soundtrack for the 2021 remake, and he decided to call Schulze to ask if he would want to collaborate on it, finally bringing everything full circle.Back home, Schulze was thrilled to be involved with such a project. He came across a cello recording by his friend Wolfgang Tiepold, who played on his 1979 Dune album. Schulze says that this recording unleashed his creativity, sending him on what he describes as a “private journey” to the planet Dune. The German composer delivers 16 tracks around three themes, Osiris, Seth and Der Hauch des Lebens (The Breath of Life in English), creating 1 hour and 15 minutes of top-quality Krautrock. “At the end of that second private ‘Dune‘ journey I realized: ‘Deus Arrakis‘ became another salute to Frank Herbert and to that great gift of life in general.” Not a bad epitaph at all… © Smaël Bouaici/Qobuz
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