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Grissini Project : Musique de jeux vidéos, animés et films

Grissini Project

Film Soundtracks - Released October 8, 2018 | Grissini Project

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manga, rap et jeux-videos

Txlly

Hip-Hop/Rap - Released October 2, 2022 | DUBRecords

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Opération Spéciale

Ayida Saad

Hip-Hop/Rap - Released November 17, 2023 | NDRG FOREVER

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Jeux vidéos

Vadim Poisson

French Music - Released March 9, 2022 | iMD-VadimPoisson

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Jeux vidéos

XLog

Hip-Hop/Rap - Released September 27, 2023 | XLog

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Debussy: Complete Orchestral Work

Jun Märkl

Classical - Released January 30, 2012 | Naxos

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Stravinsky: The Rite of Spring & The Firebird

Orchestre de Paris

Classical - Released March 24, 2023 | Decca Music Group Ltd.

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One year after winning a Qobuzissime for his first Sibelius monograph, Klaus Mäkelä is back with the Orchestre de Paris for a programme devoted to Stravinsky's two stage masterpieces: The Rite of Spring and The Firebird. The Rite of Spring is perhaps best remembered for its chaotic premiere in May 1913, Paris, where it famously provoked a riot amongst the audience. Over time, this event has left its mark on history as one of the most notorious artistic scandals of the 20th century. It’s impossible to overlook this vital work today, and yet its canonisation has arguably caused its monstrous and archaic character to fade out of our collective memory.Somehow, Mäkelä manages to completely restore the cathartic dimension of the piece. From the meticulous choice of tempos to the contrasts between the different orchestral sections, every measure of the score is rich and invigorating. This young Finn is a true master, revealing himself as a conductor of rare sensitivity and incisive vision that commands with confidence. On the flipside, The Firebird is inspired by a Russian folk tale in which Ivan Tsarevich battles the demigod Kashchei. Under Mäkelä, it becomes a grandiose festival of light and sound; a ballet imbued with a visceral sense of urgency that keeps the listener captivated throughout. © Pierre Lamy/Qobuz
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Operation: Mindcrime

Queensrÿche

Rock - Released May 3, 1988 | EMI - EMI Records (USA)

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Ravel : Complete Works for Solo Piano

Bertrand Chamayou

Classical - Released January 15, 2016 | Erato - Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
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Debut Recital

Martha Argerich

Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

Hi-Res Distinctions The Qobuz Ideal Discography
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Pancrace Royer: Surprising Royer, Orchestral Suites

Les Talens Lyriques

Symphonic Music - Released May 5, 2023 | Aparté

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Beyond the neglect of French Baroque music in general, it is a bit hard to understand why composer Pancrace Royer was almost completely unknown until Christophe Rousset came along to champion him, first in harpsichord music and now, with these suites of music drawn from operas, in orchestral music. In the 18th century, Royer was quite well known and admired among others by Rameau, whose music he helped along considerably. Royer certainly inhabited Rameau's stylistic world, but from the evidence here, his music is distinctive and merits the adjective "surprising" that Rousset has attached to it. It is colorful, given to unexpected turns of harmony, and vivid in its evocation of the exotic scenes of French opera. Sample the "Air pour les turcs" ("Air for the Turks") from Zaïde, reine de Grenade, with its crackling percussion. Royer challenged his orchestra with virtuoso ensemble writing in the likes of the "Premier et second tambourins" from Almasis, and Rousset and Les Talens Lyriques step up with precise, vigorous readings that one imagines would have made the composer overjoyed. The inclusion of two alternate versions for movements from Zaïde is also unusual and gives insight into the compositional thinking of the day. Essential for specialists and enthusiasts interested in the French Baroque, this album is a lot of fun for anyone, with only overdone church sound detracting from the overall effect. © James Manheim /TiVo
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Madvillainy

Madvillain

Hip-Hop/Rap - Released March 23, 2004 | Stones Throw Records

Distinctions The Qobuz Ideal Discography
Madvillainy represents the highly anticipated collaboration between Madlib and MF Doom. Recorded throughout 2003 -- a year which, between the two of them (under various aliases), saw more than eight releases featuring their work. When Madvillainy was released in March 2004 it became obvious that the best was saved for last as MF Doom's unpredictable lyrical style fits quite nicely within Madlib's unconventional beat orchestrations. Twenty-two short and blunted tracks bang out mythical stories of villains and urban (anti) heroes trying to make it through with their ganja and wits still intact -- each flows together in a comic book fashion sometimes segued with vignettes sampled from 1940s movies and broadcasts or left-field marjuana-toting skits. Madvillainy's strength lies in its mix between seemingly obtuse beats, samples, MCing, and some straight-up hip-hop bumping. Take "Accordion" for example. A wacky accordion sample loops throughout a slow-paced beat and lazy bassline while Doom flies through almost unaware of the background at times. Or "Raid," which features a beat that seems to be so out of time or step with a traditional hip-hop direction. But Doom sits quite comfortable within its frame and sets up Medaphor for a slick guest appearance. Other guests include the bad character, Lord Quasimoto, on "Americas Most Blunted" and the Sun Ra-inspired "Shadows of Tomorrow"; Wildchild blasts million-miles-an-hour rhymes on "Hardcore Hustle" and Stacy Epps floats through "Eye." Madvillainy gets close to the genius seen on Quasimoto's Unseen, and like that record this one might take a few listens to find it. But once it clicks in, this disc stays in the CD player for days.© Sam Samuelson /TiVo
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Stravinsky: Petrushka; Debussy: Jeux, Prélude

Orchestre de Paris

Classical - Released March 8, 2024 | Decca Music Group Ltd.

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Haydn 2032, Vol. 12: Les jeux et les plaisirs

Giovanni Antonini

Classical - Released July 8, 2022 | Alpha Classics

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The twelfth volume in the Haydn2032 series, in which Giovanni Antonini conducts the Kammerorchester Basel, is devoted to "games and pleasures". The symphonies recorded here, Nos. 61, 66 and 69, were composed for the daily theatrical performances held at Eszterháza Palace in the spring of 1776. For Haydn they marked the end of a festive period, before he had to return to the serious business of writing operas. The "Toy Symphony", attributed to Haydn for 200 years before it was discovered that it was in all probability composed by a Benedictine monk, completes the programme in a similarly light and cheerful atmosphere. © Alpha Classics
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Lully: Thésée

Les Talens Lyriques

Opera - Released October 13, 2023 | Aparté

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Christophe Rousset and his Les Talens Lyriques continue their exploration of the operas of Jean-Baptiste Lully for the Aparte label with 1675's Thésée ("Theseus"), the composer's third "tragédie en musique" with librettist by Philippe Quinault. Commissioned by King Louis XIV, the libretto recounts some early-life exploits of the titular character from Ovid's Metamorphoses. It was immensely popular for more than a century before finding itself in less demand than later, more compact versions of Quinault's text, which were set by composers such as Handel (Teseo, 1712). What is there for a king and his court not to like when the Prologue declares the king a god and sings the praises of king and kingdom? Rousset has his Les Talens Lyriques in fine form, and the ensemble plays crisply and concisely throughout. Rousset, conducting from the harpsichord, keeps the action moving in this colossal and dramatic work. The soloists, especially mezzo-soprano Karine Deshayes as Médée ("Medea") and tenor Mathias Vidal as the titular Thésée, display clear expertise in the realm of early French opera. This work is a major vehicle for mezzos in the role of the jealous sorceress Médée, and Deshayes is splendid. The Prologue has some awkward, almost hesitant singing from the chorus, but as the work progresses, the Chœur de chambre de Namur becomes stronger and, in the end, proves to be an asset to the whole (consider their turn as the inhabitants of the underworld with Deshayes on "Sortez, ombres, sortez de la nuit éternelle" from Act Two). This is a worthy addition of a lesser-known opera to the growing Lully collection from Les Talens Lyriques.© Keith Finke /TiVo
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Scarlet's Hidden Treasures

Tori Amos

Rock - Released May 18, 2004 | Epic

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White Light / White Heat

The Velvet Underground

Rock - Released September 1, 1967 | Verve

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The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety. Recorded without the input of either Nico or Andy Warhol, White Light/White Heat was the purest and rawest document of the key Velvets lineup of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker, capturing the group at their toughest and most abrasive. The album opens with an open and enthusiastic endorsement of amphetamines (startling even from this group of noted drug enthusiasts), and side one continues with an amusing shaggy-dog story set to a slab of lurching mutant R&B ("The Gift"), a perverse variation on an old folktale ("Lady Godiva's Operation"), and the album's sole "pretty" song, the mildly disquieting "Here She Comes Now." While side one was a good bit darker in tone than the Velvets' first album, side two was where they truly threw down the gauntlet with the manic, free-jazz implosion of "I Heard Her Call My Name" (featuring Reed's guitar work at its most gloriously fractured), and the epic noise jam "Sister Ray," 17 minutes of sex, drugs, violence, and other non-wholesome fun with the loudest rock group in the history of Western Civilization as the house band. White Light/White Heat is easily the least accessible of The Velvet Underground's studio albums, but anyone wanting to hear their guitar-mauling tribal frenzy straight with no chaser will love it, and those benighted souls who think of the Velvets as some sort of folk-rock band are advised to crank their stereo up to ten and give side two a spin.© Mark Deming /TiVo
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Ravel: L'Œuvre pour piano

Philippe Bianconi

Solo Piano - Released September 15, 2023 | La Dolce Volta

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Ravel's piano works include some of the most popular keyboard pieces of the 20th century, so pianist Philippe Bianconi has plenty of competition for this double-album complete cycle. Of course, one advantage of the complete set is that it can include the less common pieces like Ravel's musical impressions of Borodin and Chabrier and the Menuet en Ut dièse mineur ("Minuet in C sharp minor"). These lesser-known works, mostly miniatures, fit Bianconi's style beautifully; he is a precise, concise player who brings out Ravel's considerable rhythmic subtlety. His Ravel performances tap into a long French tradition stretching back to Robert Casadesus and his wife, Gaby, who was one of Bianconi's teachers. Imbued with the French conservatory values of clarity and restraint, Bianconi sacrifices mood for clean execution. In Le Tombeau de Couperin, he is wonderful, one of the very best available, catching the ways Ravel stretches the Baroque rhythms in a really uncanny way. Many pianists can handle the technical challenges of Gaspard de la nuit these days, but few can seem as effortless while doing so. In music that depends more on extramusical references, such as the four-hand Ma mère l'Oye (recorded with Clément Lefebvre), some listeners may want a bit more color, while others will find Bianconi's approach bracing and fresh, with an evocative Miroirs. Sample several different works. Most listeners will agree that the La Dolce Volta label's sound, from the Grande Salle at the Metz Arsenal, is ideal for the music and the music-making here. © James Manheim /TiVo
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Étoile flippante

Hoshi

Pop - Released February 11, 2022 | Jo&Co

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Strauss: Also sprach Zarathustra - Debussy: Jeux

François-Xavier Roth

Symphonies - Released March 24, 2023 | LSO Live

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Although the Principal Guest Conductor of the London Symphony Orchestra since 2017, the Frenchman François-Xavier Roth also juggles conducting his own orchestra, Les Siècles. He founded this ensemble in 2003 to play a wide-ranging repertoire on the appropriate period instruments. This new album was recorded in London’s Barbican Hall during two concerts with the London Symphony Orchestra both in January and November 2018, and it features two rarely performed composers: Richard Strauss and Claude Debussy.Reading between the lines of Debussy's collection of ironic writings in Monsieur Croche, his admiration for his powerful elder is tangible. After a concert Strauss had conducted in Paris, Debussy wrote, “I can assure you there is plenty of sun in the music of R. Strauss… His mind is still that of a musician, but his eyes and actions are those of a 'superman'. As the man who must have inspired his energy, Nietzsche, used to say... I repeat that there is no way to resist the conquering domination of this man!” On the other hand, Strauss was completely baffled by Pelléas et Mélisande, stating, “These are very fine harmonies, in very good taste; but it is nothing, nothing at all.”The strange combination offered here conveys the Nietzschean philosophy of Thus Spoke Zarathustra through a titillating call-and-response (Debussy’s Jeux, his last great orchestral work). François-Xavier Roth conducts these two scores with a delicate vigour, embracing the stunning orchestral palette they share while simultaneously highlighting two different aspects of modernity that constitute 20th-century music. Absolutely fascinating. © François Hudry/Qobuz