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The Stone Roses

The Stone Roses

Alternative & Indie - Released March 1, 1989 | Sony Music UK

Distinctions The Qobuz Ideal Discography
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Are We There Yet?

Rick Astley

Pop - Released October 6, 2023 | BMG Rights Management (UK) Limited

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An abiding love of classic soul, twangy rock, and R&B has always been at the core of Rick Astley's pop sound. It's an organic blend that he's been increasingly digging into since 2016's 50 and one which underpins all of 2023's Are We There Yet? His third album to be produced out of his home studio in London, the album feels like a love letter to the earthy, blues-influenced work of artists like Bill Withers and Otis Redding. Central to the album is "Dippin' My Feet," an infectious, country- and gospel-tinged rocker that nicely evokes the similarly rootsy, throwback style of Oklahoma singer JD McPherson. In fact, it's easy to imagine Astley hearing the rise of roots-inspired artists like McPherson and even singers like Hozier (another possible touchstone for the sounds at play on Are We There Yet?) and finding common pop ground. Here, he takes a back-to-basics approach, framing his resonant baritone in ringing piano and organ flourishes, crisp acoustic guitars, handclaps, and warm backing vocal harmonies. While the album certainly has a lovingly crafted, analog quality, there's a raw immediacy to many of these tracks, as if they were recorded live-in-studio or captured at a passionate church service. It's an earthy vibe reflected in Astley's vocals, as on the gospel-influenced "Never Gonna Stop," where he takes on the throaty intensity of a blues singer. Other evocative sounds pop up elsewhere, as on "High Enough," a minor-key number with echoey vibraphone accents that brings to mind the yearning atmosphere of a Chris Isaak song. Similarly, "Forever and More" has the crisp, guitar-driven soulfulness of an '80s Style Council track. Certainly, all of the rootsy soulfulness Astley embraces on Are We There Yet? is far removed from the studio sophistication of his early hits. That said, it feels genuine and hard-won by age and experience. With Are We There Yet?, Astley hasn't just arrived, he's come into his own.© Matt Collar /TiVo
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An Evening of Innocence & Danger: Live In Hamburg

The Neal Morse Band

Rock - Released July 14, 2023 | InsideOutMusic

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Face the Music

Electric Light Orchestra

Rock - Released October 1, 1975 | Epic - Legacy

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Bunny

Beach Fossils

Alternative & Indie - Released June 2, 2023 | Bayonet Records

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There's a neat trick that Brooklyn's Beach Fossils pulls off on the band's fourth album, Bunny, in which time seems suspended. For nearly 40 minutes, no matter where you are, the setting morphs into a lazy summer afternoon where nothing else needs to be done. Dustin Payseur's songs bounce like paper boats on water ("Tough Love"; "Dare Me" and it lyrical sighs like "Spinning your wheels/ To the edge of this town/ She said, 'LA's so small/ When you're looking straight down'"), jangle and beam with bright rays of guitars ("Anything is Anything"), and find the rhyme in "easy-going" and "melatonin" ("(Just Like the) Setting Sun"). There are shades of Ride's hazy shoegaze—especially within the humidity-thick layers of "Feel So High," which lives up to its title—and The Cure's sunny guitar tones across the board, but especially on cuts like "Sleeping On My Own." "Run to the Moon" features a great relaxed-fit bassline and a crisp hit of cello and viola to cut through the daydream mist. "Living in New York, it can grind you down," Payseur sings, world weary as ever. "I tell you it will grind you down." With Payseur as the only remaining member of the project he began in 2009, there's a clear thread of melancholy—and being fine with it—through the band's discography. "Don't Fade Away," he has said, is about "missing old friends, being on tour, self-medicating, longing, anxiety, love, being an idiot, having fun, embracing your mistakes and keeping your spark." "Out on tour/ I just finished/ This pack of cigarettes/ And I don't even smoke," he sings on that track, killing time before arriving at the catchy chorus: "She's novocaine/ It's all I need/ To ease the pain." © Shelly Ridenour/Qobuz
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Mylo Xyloto

Coldplay

Rock - Released May 10, 2001 | Parlophone UK

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Live in Buenos Aires

Coldplay

Rock - Released December 7, 2018 | Parlophone UK

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You have to be really sure of your concerts to be able to release a fifth live album after only 18 years career time. But stage performances are such a speciality for Coldplay that Chris Martin's group can allow themselves to release this Live In Buenos Aires album rather an eighth studio album, which is being eagerly awaited their fans... Recorded during the A Head Full of Dreams World Tour, this album captures (with amazing sound quality) the powerful 15th of November (2017) show in the Argentinean capital. As per usual, the four Brits play with the constant participation of a totally devoted crowd. U2 often put on these types of shows, Coldplay being their most obvious successors. From the stadium hymn (Viva La Vida) to the early classics (Yellow, Clocks), Coldplay put on a real electric fiesta. © Clotilde Maréchal/Qobuz
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Waterfall

Michael Schulte

Pop - Released March 24, 2023 | Polydor

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Weather Report

Weather Report

Jazz Fusion & Jazz Rock - Released May 12, 1971 | Legacy - Columbia

Here we have the free-floating, abstract beginnings of Weather Report, which would define the state of the electronic jazz/rock art from its first note almost to its last. Their first album is a direct extension of the Miles Davis In a Silent Way/Bitches Brew period, more fluid in sound and more volatile in interplay. Joe Zawinul ruminates in a delicate, liquid manner on Rhodes electric piano; at this early stage, he used a ring modulator to create weird synthesizer-like effects. Wayne Shorter's soprano sax shines like a beacon amidst the swirling ensemble work of co-founding bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. Zawinul's most memorable theme is "Orange Lady" (previously recorded, though uncredited, by Davis on Big Fun), while Shorter scores on "Tears" and "Eurydice." One of the most impressive debuts of all time by a jazz group.© Richard S. Ginell /TiVo
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Geyser (Live at Royal Albert Hall - BBC Proms)

Marius Neset

Jazz - Released October 27, 2023 | ACT Music

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The Dark Delight

Dynazty

Rock - Released April 3, 2020 | AFM Records

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UNDERTALE Soundtrack

Toby Fox

Film Soundtracks - Released September 15, 2015 | Materia Collective

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Black Panther

Ludwig Goransson

Film Soundtracks - Released March 16, 2018 | Hollywood Records

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As the Swedish composer's third collaboration with director Ryan Coogler and actor Michael B. Jordan, Ludwig Göransson's original score for Marvel's Black Panther was also his most adventurous and cross-cultural to date. Pushed by Coogler to utilize as much traditional African music as possible, Göransson traveled to the International Library of African Music in Grahamstown, South Africa, where he collected hundreds of sounds that would find their way into the score (such as the tambin flute that was central to Killmonger's recurring theme). Göransson also recruited Senagalese singer Baaba Maal, whose haunting vocals appear throughout the album, most prominently on the grand anthem "Wakanda" and the moving "A King's Sunset." Throughout, tribal chants, a crew of percussionists, and a 40-person Xhosa choir collided with American hip-hop trap beats and Western string orchestration, supporting the multicultural sound of the fictional kingdom of Wakanda, especially on standout moments like "Killmonger's Challenge" and "United Nations/End Titles." Motifs from the triumphant score also found their way onto the Kendrick Lamar-curated soundtrack, like on the Jay Rock single, "King's Dead," which shared vocal samples with the exhilarating "Casino Brawl." In the same week that the soundtrack topped the charts, the score also landed in the Top 100.© Neil Z. Yeung /TiVo
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Anjunabeats Volume 16

Above & Beyond

Trance - Released July 22, 2022 | Anjunabeats

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The Piano Guys 2

The Piano Guys

Pop/Rock - Released February 5, 2013 | Portrait - Sony Masterworks

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Water

Bicep

Electronic - Released October 5, 2022 | Ninja Tune

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The End We Start From

Anna Meredith

Film Soundtracks - Released January 19, 2024 | Decca (UMO)

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A mother and her infant attempt to survive in a flooded London following an environmental disaster: this is the starting point for British director Mahalia Belo’s thriller, set to music by Anna Meredith. By mixing neo-classical and electronic music, the composer has created a work that resists classification. It’s a UFO in the small world of film music. “I felt clear from the start that the soundworld for ‘The End We Start From’ needed to be both intimate and large-scale and felt instinctively clear from the outset that it should be based around flute and electronics,” she explained, going on to say that, “working on a breath-focused soundworld would complement the dichotomy between large and small-scale humanity (and water connections!) that the film addresses so well.” The flute, especially present on the track “Little World”, is performed by Daniel Shao, from the orchestra Philharmonia, based in London. Much more anxiety-provoking and sombre, the pieces “Past Lives” and “Taking It All In” show Meredith’s great talent for marrying orchestral and electronic music, as do “Not Here” and “What You Miss Doesn’t Exist” (albeit in a brighter spirit). In the end, through this soundtrack, Anna Meredith succeeds in expressing the instability of our world with sensitivity and intelligence. © Nicolas Magenham/Qobuz  
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Waterfall (I Adore You)

YEBBA

Alternative & Indie - Released October 25, 2023 | RCA Records Label

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Presence

Petit Biscuit

Electronic - Released November 10, 2017 | Petit Biscuit Music

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In 2016 when he released his first EP, Mehdi Benjelloun knocked more than one person off their feet. Fresh out the oven (he was only 16 years old!), this artist who calls himself Petit Biscuit is a high school student like any other, apart from the fact that he’s already a producer. With these 5 tracks, he claimed his place in the world of electronic music. Influenced by oriental music, the young prodigy from Rouen uses voice samples for his favourite recipe, following his master Fakear. His real work on textures also gives pride of place to analogue instruments. One year later, with his GCSEs in the bag (passing with flying colours) this album not only confirms his obvious talent but also the originality of his electronic kaleidoscopic voice. Jérémy Souillart a.k.a. Møme, the Parisians Isaac Delusion, Peder Losnegård a.k.a. Lido and Sonia Ben Ammar all come to lend a hand on this colourful adventure that mixes pure dancefloor with more introspective elements. The rainbow is complete and the hedonistic sensation very much real. © CM/Qobuz
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Mr. Gone

Weather Report

Jazz - Released April 17, 1978 | Columbia - Legacy