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Laid Black

Marcus Miller

Jazz - Released June 1, 2018 | Blue Note Records

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There is a before and an after 1986 for Marcus Miller. That year, the bassist was 27 years old and composed and produced Miles Davis’ famous Tutu. Since then, the career of this four-string virtuoso has expanded with stunning albums for others (over 500!) and for himself (more than twenty), as well as multiple collaborations… Like often with Marcus Miller, the borders between jazz, funk, soul and blues are magnificently blurred. And it is once again the case with this Laid Black. After Afrodeezia, which he designed like a musical journey through his personal history, retracing the path of his ancestors, Laid Black falls within present time with a cocktail of all the urban sounds he loves: hip-hop, trap, soul, funk, R&B and, of course, jazz. In fact, this kind of 180° overview is the man’s trademark. Shuffling between various currents of African-American music. And even inserting a few clever references when he covers Que Será, Será (Whatever Will Be, Will Be) popularised by Doris Day, but using Sly Stone’s arrangement from 1973 Fresh… For this 2018 opus, Marcus Miller has called upon a few sharp shooters such as Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler and the young Belgian soul sister Selah Sue. Groove galore and precise yet never sickening pyrotechnics are at the core of an album that only its author knows how to make. © Clotilde Maréchal/Qobuz
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Star Wars: Return of the Jedi

John Williams

Film Soundtracks - Released January 1, 1983 | Walt Disney Records

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hypochondriac

brakence

Alternative & Indie - Released December 2, 2022 | Columbia

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Hotel Kalifornia

Hollywood Undead

Rock - Released April 28, 2023 | BMG Rights Management (US) LLC

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Birds In The Trap Sing McKnight

Travis Scott

Hip-Hop/Rap - Released September 3, 2016 | Cactus Jack - Epic

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Titled after one of Quavo's lines from the chirpy summertime 2016 hit co-billed to Travis Scott and Young Thug, this fitfully hypnotizing follow-up arrived after numerous delays, toward the end of the year's third quarter. "Pick Up the Phone" functioned as the lead single off Thug's JEFFERY, and it sensibly reappears here, buried in the latter half, de-emphasized yet not quite a tacked-on bonus. It's easily the track with the most pop appeal on Scott's second full-length. Released almost exactly a year after Rodeo, Birds in the Trap features little development, though the large company Scott keeps is quite different, and Metro Boomin is noticeably absent. Among the present is André 3000, who drops by on "The Ends" to recollect the infamous rash of murders that struck his city during his early childhood. The album's deepest verse by a great measure, it has no discernible connection to Scott's surrounding rhymes of cocksure nonsense. That remains the M.O. of Scott, who remains deeply into heavy accessorization and proclamations of dominance, as well as punctuations with affirmative exclamations cast in dehumanizing pitch alteration. Swarming basslines and sluggish beats likewise form the rhythmic foundation, with gauzy and tickling keyboards adding sweetness to Scott's hedonistic hooks. Only on "Guidance," through scuttling drums granted by DF, is there a significant shake-up. This time, Scott co-produced only one track, another Weeknd collaboration, and it easily slips into the album's scheme with its serpentine menace and lightweight lyricism. Among the others on the guest carousel are Kendrick Lamar, Kid Cudi, 21 Savage, and Cassie. They all pass in a slow-motion blur.© Andy Kellman /TiVo
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Avalanche

Temple Balls

Hard Rock - Released November 10, 2023 | Frontiers Records s.r.l.

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Platinum

Frank Sinatra

Jazz - Released October 27, 2023 | CAPITOL CATALOG MKT (C92)

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Indiana Jones and the Temple of Doom

John Williams

Film Soundtracks - Released January 1, 1984 | Walt Disney Records

Indy fans rejoice! The much clamored about expanded film score to INDIANA JONES AND THE TEMPLE OF DOOM is finally available on its own. Originally released as an 11-track Japanese import, five-time Academy Award winning composer John Williams’s thrilling score saw its first domestic issue in 2008 as part of THE INDIANA JONES SOUNDTRACKS COLLECTION box set. Featuring an extensive photo gallery and liner notes by director Steven Spielberg and soundtrack producer Laurent Bouzereau, the score has been expanded to 22 tracks, with most of the music previously unreleased.© TiVo
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Squaring The Circle

Sneaker Pimps

Electronic - Released September 10, 2021 | UNFALL

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DS2

Future

Hip-Hop/Rap - Released July 17, 2015 | Epic - Freebandz - A1

Hi-Res Distinctions Pitchfork: Best New Music
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Ancient Dreams In A Modern Land

Marina

Pop - Released January 7, 2022 | Atlantic Records

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Donnie Darko (Original Motion Picture Soundtrack)

Michael Andrews

Alternative & Indie - Released April 2, 2002 | Everloving Records

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The most remarkable thing about Richard Kelly's directorial debut, Donnie Darko, is its sheer tenacity. After suffering the fatal blow of a post-September 11 release date, the ominous film, which features the destruction of a sleepy suburban household by a falling jet engine, was pulled from theaters. Its subsequent release on video garnered a rabid fan base that elevated the movie to cult status, spawning hundreds of websites devoted to untangling its spidery threads of time-travel logic and spiritual chicanery. Rookie composer Michael Andrews, whose only previous work was for television's Freaks and Geeks, captures the underlying dread and unsettling beauty of the film by remaining reverent to it. Clocking in at just over 30 minutes, the heart of the piece is a pulsing, hypnotic waltz that transports you to the alternate-reality Middlesex, VA where the film takes place. His use of period (1980s) synths and a voxophone, tastefully punctuated by sparse choral arrangements, evoke a Danny Elfman score leached of bombast and quivering in its naked form. Like Air's soundtrack to The Virgin Suicides, Andrews' songs create such a specific sense of place that an entirely different film would emerge in their absence, robbing the consumer of its dizzying afterglow -- the soft, walking pianos on "The Artifact and Living" and "Rosie Darko" tiptoe through your subconscious for weeks. Due to the sparse, six-million-dollar budget of the movie, the producers had to decide whether or not to include celluloid-only tracks like "Killing Moon" by Echo & the Bunnymen and "Under the Milky Way" by the Church or pay for the special effects. They wisely opted for the latter, threw in an extra quarter and allowed Andrews and singer-songwriter Gary Jules to construct the heartbreaking re-working of Tears for Fears' 1983 hit "Mad World," that delivers the last play on Donnie Darko's haunting, apocalyptic jukebox.© TiVo
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Death Below

August Burns Red

Rock - Released March 24, 2023 | SHARPTONE

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Something More Than Free

Jason Isbell

Pop - Released July 17, 2015 | Southeastern Records

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Sinatra/Basie: The Complete Reprise Studio Recordings

Frank Sinatra

Jazz - Released January 1, 2011 | FRANK SINATRA DIGITAL REPRISE

The long-awaited collaboration between two icons, Count Basie and Frank Sinatra, did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the '60s when his band was more popular and better known than it ever was, even in the big-band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career. Propelled by the irresistible drums of Sonny Payne, Sinatra careens up to and around the tunes, reacting jauntily to the beat and encouraging Payne to swing even harder, which was exactly the way to interact with the Basie rhythm machine -- using his exquisite timing flawlessly. Also, the members of the Basie band play a more prominent role than usual on these two Sinatra records (originally released as Sinatra-Basie and It Might as Well Be Swing), with soloists like Frank Wess -- in some of the finest flute work of his life -- and tenors Frank Foster and Eric Dixon getting prominent solo opportunities on several of the tracks. The music was criticized by some as a letdown when it came out, probably because the charts of Neal Hefti and Quincy Jones rarely permit the band to roar, concentrating on use of subtlety and space. Yet its restraint has worn very well over the long haul. It doesn't beat you into submission, and the treatment of these standards is wonderfully playful.© Richard S. Ginell /TiVo
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Over the Garden Wall

Over the Garden Wall

TV Series - Released July 19, 2016 | Cartoon Network - WaterTower Music

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Broken Bells

Broken Bells

Pop/Rock - Released March 3, 2010 | Columbia

Distinctions Sélection Les Inrocks
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Come Home The Kids Miss You

Jack Harlow

Hip-Hop/Rap - Released May 5, 2022 | Generation Now - Atlantic

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Eternal Atake (Deluxe) - LUV vs. The World 2

Lil Uzi Vert

Hip-Hop/Rap - Released March 13, 2020 | Generation Now - Atlantic

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Keep It like a Secret

Built To Spill

Alternative & Indie - Released January 22, 1999 | Warner Records

Perhaps realizing that their time on a major label was likely limited, Built to Spill made a gutsy choice for Keep It Like a Secret, their second album for Warner Brothers. They embraced the sounds of a big studio and focused their sound without sacrificing their fractured indie rock aesthetic. In a sense, this is Built to Spill's pop album: every song is direct and clean, without the long, cerebral jamming that characterized their earlier albums. That's not to say that the album is compromised -- the songwriting may be streamlined, but Doug Martsch now packs all of his twists, turns, and detours into dense, three-minute blasts. This approach, combined with the shiny sonic textures, makes Keep It Like a Secret the most immediate and, yes, accessible Built to Spill record, but they steadfastly open their music up and breathe the way, say, Pavement did on Crooked Rain, Crooked Rain or Brighten the Corners. Built to Spill still demand that listener meet them on their own terms -- these just happen to be the easiest terms to understand in their catalog.© Stephen Thomas Erlewine /TiVo