Your basket is empty

Categories :



What is a Qobuzissime? It’s an award presented by Qobuz for a first or second album.

Pop or Reggae, Metal or Classical, Jazz or Blues, no genre is excluded. More often than not the award is presented to a newly discovered artist.

Sometimes it might be a particularly quirky or a crossover album from a discography.

The important aspects are uniqueness, sincerity and quality. We look for these things in the recording, the project and the sound identity.





Albums

From
HI-RES$26.99
CD$23.39

Alternative & Indie - Released February 19, 2021 | Lonely Lands Records

Hi-Res Distinctions Qobuzissime
Make no mistake about it. Behind its mystical cover worthy of a progressive rock band from the 70s, Terra Firma hides the unclassifiable second album from Tash Sultana. Natasha is one of those who started early and alone. At the age of three, her father gave her her first guitar. As a teenager, she roamed the streets of her native Melbourne. Then she conquered the rest of the world in 2016 with the 70 million views for Jungle, the result of her prolific bedroom sessions which she broadcast on YouTube. After three EPs on her own label Lonely Lands, the young Australian released Flow State in the summer of 2018, a pop-soul patchwork from her youth on which she played all the instruments (she has mastered about twenty of them) using loops and effect pedals, her trademark. Since then, she's been filling stadiums and an appearing on front covers, like Rolling Stone magazine with whom she talked about the Stratocaster TC Signature dedicated to her by Fender."Terra firma is the ground and the earth, you put your feet on it to remember where you are, where you come from," says the woman who plans to turn her dazzling success into a long-term career. Further raising the bar, Tash Sultana takes care of the musical arrangement, with the production of her records entrusted in part to Matt Corby. This can be heard from the off with the instrumental Musk, whose lustrous guitars, groovy sax, and catchy bass pave the way for the following 14 tracks that oscillate between soul, R'n'B, funk, folk and suave pop. To arrive at this rich, well-balanced, hypnotic but never redundant blend, which she sees as "a meeting between Aretha Franklin, Bon Iver, John Mayer and others", Tash has had to surround herself with other talented musicians. Thus, we find the rapper Jerome Farah (Willow Tree) and Josh Cashman (Dream My Life Away), both from Melbourne. A masterstroke, at only 25 years old. © Charlotte Saintoin/Qobuz.
From
HI-RES$23.59
CD$15.59

Alternative & Indie - Released November 20, 2020 | Licence Kuroneko - Sodasound

Hi-Res Distinctions Qobuzissime
First spotted in May 2019 with a two-track debut EP, WOMXN/Time Machine, Gystere was immediately approved by the Trans Musicales de Rennes, where he played with his band in December of the same year. DJ, director and composer, the Frenchman Adrien Peskine, who has in the past, played piano for Cerrone and appeared on ‘Le Grand Journal de Canal’, presents a first album bringing together all his artistic influences in an Afrofunk patchwork record that will leave no one seated. The concept is quite ambitious: "I've always tried to create the type of artist and music I couldn't find in my local clubs," explains Gystere. As a result, he composes a sort of mosaic of music from the 70s and 80s, with Prince-style intros, Supertramp-style melodies, Jimmy Page-style solos, Queen-style backing vocals, but also Stevie Wonder, Funkadelic and Sun Ra influences, for the afrofuturism that haunts the record. Without ever falling into stylistic exercise, Gystere (who composes alone, but records alongside his musicians) manages to transcend all these elements with a funky groove that we can't wait to see live. On paper, it could have gone wrong, but in the end, Gystere is well on his way to becoming one of the French revelations of the year. © Smaël Bouaici/Qobuz
From
HI-RES$27.59
CD$16.79

Alternative & Indie - Released October 2, 2020 | Heavenly Recordings

Hi-Res Distinctions 4F de Télérama - Qobuzissime
Sharp, dry and unyielding, the neo-post punk scene, making waves in the UK, is hitting the dance floors thanks to Working Men’s Club. With their first album, Eponym, the young quartet from Todmorden, near Manchester, reignite the flames that once burned with New Order (Power, Corruption & Lies), The Fall, Human League, Gang of Four, D.A.F and Suicide. The young frontman Sydney Minsky-Sargeant sets the scene: ‘There isn’t much to do in Todmorden when you’re a kid. The Town is quite isolated and it can be very depressing to live in a place where, in winter, sunlight only lasts a few hours.' Locked in his room, Minsky-Sargeant spent his time tinkering with and mixing synthesisers, guitars and drums. The record blends chanting vocals, Stakhanovite rhythms, sickly guitar riffs and massive bass sounds. It's easy to lose control of one's body as it grooves and contorts to the rhythm of this unusual acid electro-rock, often reminiscent of early LCD Soundsystem. Minsky-Sargeant sports a t shirt marked with the word ‘SOCIALISM’ as the group christen their song John Cooper Clarke (the ever-popular punk poet), lighting up the grey skies of their native Yorkshire. Occasionally, Minsky-Sargeant relaxes into hedonistic new wave with tracks like Outside. But when he loses his temper, the electro-funk-tinged disco punk oozes from his soul (Teeth). This is a truly stunning record with impressively tight production, courtesy of Ross Orton (The Fall, M.I.A, Arctic Monkeys). No time to lose, have a listen! © Marc Zisman/Qobuz
From
HI-RES$23.59
CD$15.59

Pop - Released September 25, 2020 | Capitane Records

Hi-Res Booklet Distinctions Qobuzissime
Behind his ordinary name, Nicholas Michaux writes and produces distinctively original songs. After the failure of his band ‘Ete 67’, he decided to pursue a solo career, releasing ‘A La Vie, A la mort’ on ‘Tot ou Tard’ records. His latest offering, ‘Amour Colère’ released under Capitane records, further develops his rather sentimental outlook on daily life. On ‘Cancer’ the Belgian native, who shares his life experiences living between Brussels and the Danish Island Samsø, plays with clever language to better come to terms with the disease. The album is written partly in English, partly in French, with Michaux poetically jumping in and out of both languages. His vocal style, melancholic, unobtrusive and always simple, is reminiscent of Alain Bashung’s longingly soothing vocals. Eclectic yet brilliantly homogeneous, this record blends classic French ‘chanson’ (A nouveau) with romantic pop (Amour Colère, Nos retrouvailles), tonic (Parrot), romantic post punk (Every Word, Harvesters) and even glam rock (Factory)! The production is basic and doesn’t offer the sheen of modern pop music, however this isn’t to say the quality is poor! Quite the opposite! This album is beautifully tireless, offering skillfully poetic verses and gentle yet driven choruses. It is a pleasure to listen to such exquisite, well dressed language. A True gem of an album! © Charlotte Saintoin/Qobuz
From
HI-RES$22.49
CD$17.99

Punk / New Wave - Released July 3, 2020 | Duchess Box Records

Hi-Res Distinctions Qobuzissime
A few seconds of Freier Geist is all it takes for Sofia Portanet to transport us from 2020 to 1980. Despite being born at the end of 1989 and never having lived through the era, the German singer’s Qobuzissime debut album breathes new life into Neue Deutsche Welle. The ‘80s was a time when Nina Hagen reigned over Europe’s new wave and post-punk with high energy and madness and Kraftwerk was greatly expanding its audience. It was a time characterised by D.A.F.’s marching beats, the romantic ravings of Kate Bush, Toyah and Lene Lovich and the quirky pop of Falco and Rita Mitsouko. All of these artists are dear to Sofia Portanet, who was born in Kiev, grew up in Paris and now lives in Berlin. Singing as brilliantly in German as she does in English and French, she also finds inspiration in great voices who mixed film, theatre and cabaret, such as Ingrid Caven and Hildegard Knef. To summarise, without all of these references, the enchanting Freier Geist finds the perfect balance between longing for the ‘80s (even if you didn’t live through them) and glints of modernity. But above all, it’s the power of Sofia Portanet’s music that makes it so intoxicating. © Marc Zisman/Qobuz
From
HI-RES$26.49
CD$18.99

Alternative & Indie - Released June 12, 2020 | Virgin Music UK LAS (S&D)

Hi-Res Distinctions Qobuzissime
To Love Is To Live is Jehnny Beth’s debut full length solo album, but the record is a new step in her really dense career. Jehnny Beth used to be half of the duet John & Jehn; she made her breakthrough as the Savages’ lead singer and has collaborated with such musicians as Gorillaz (We Got the Power) and The Strokes’ Julian Casablancas (Boy/Girl). In films, she has worked with Catherine Corsini (Un Amour impossible) and Alexandre Astier (Kaamelott). She’s a radio host (Start Making Sense for Beats 1) and a TV host (Echoes on Arte) and also a writer, who will soon publish her first collection of erotic short stories entitled C.A.L.M.: Crimes Against Love Memories, illustrated by Johnny Hostile’s photographs.Jehnny Beth’s prolific inspiration, made of style, sounds, emotions, and contextual encounters is at the center of To Love Is To Live. She hired Atticus Ross, Flood, and Johnny Hostile to produce and take care of a large part of the record’s instrumentation. It is post-punk, industrial new wave, electronic cold wave and viscerally dark rock at the same time. Sometimes, it even sounds like a make-believe movie soundtrack. The album is a mixture of contrasts enhanced by the guest performances of Romy Madley Croft from xx, actor Cillian Murphy, and Idles’ singer Joe Talbot.Throughout the record, ideas are pouring, as the French musician transitions from the ultra-violent industrial punk song How Could You, recorded with Talbot, to her sensual piano playing on the dreamlike ballad Countryside. But despite this assumed eclecticism, To Love Is To Live is always coherent in its feel. It is an instant Polaroid picture of our complex world, full of tensions, uncertainties, and wonderings about sexual identities, extreme politics, and collective hopes for the future. This picture looks like Jehnny Beth, it is both strong, as impressive as the album cover created by Tom Hingston (who previously worked with Massive Attack on Mezzanine), and deeply sensitive. The album opens with a song entitled I am. It concludes with Human. I am Human: a perfect circle. © Marc Zisman/Qobuz
From
HI-RES$23.59
CD$15.59

Pop - Released May 29, 2020 | Animal 63

Hi-Res Booklet Distinctions Qobuzissime
After the album closes, we can only wonder at Meryem Aboulouafa’s voice on her eponymous debut. We are held in a 38-minute hypnosis during which the Casablanca singer’s dreamlike organ takes control of our souls and senses, we embark on a hybrid voyage mixing soul, pop, electro, oriental music and faux film music. But like her contemporaries Kadhja Bonet (who often comes to mind), Weyes Blood, Jenny Hval and Lana Del Rey, Meryem Aboulouafa’s universe is also made up of sounds, ambiances and, above all, words… Her father raised her on all the classics (Beatles, Stones, Floyd, Dylan, Piaf, Brel, Brassens), before she went on to study music theory and violin at the Conservatoire, write her first poems in Arabic and French, and study interior design at Casablanca’s École Supérieure des Beaux-Arts. Guitar in hand, a young Meryem would write her first songs drawing the attention of Manu Barron from the label Animal (The Blaze, Myth Syzer, Johan Papaconstantino, Gabriel Auguste). With the help of Keren Ann she perfects her already solid first drafts which are intelligently assembled by production experts Para One and Okard. “Para One brought a cinematographic element to the recording which suits me well as I visualise a lot of my music and lyrics”, explains the singer. “Ojard is more about melodies, orchestration and the elaboration of complex harmonies and sounds.” A stripped-down piano here and lyrical neo-classical strings there. Continue on for warlike rhythms and a blend of electronic trip-hop. Throughout, instrumentals take care to follow the voice and introspective lyrics. “The Friend” evokes a muslim prayer and its poetic gestures, “Deeply” discusses the complexity of the human soul, “Breath of Roma” is a love letter to Italian culture, and so on and so forth. Eleven pieces make up this fascinating puzzle from beginning to end with great emotional finesse. We should narrowly avoid branding Meryem Aboulouafa the hidden love child of James Blake and Oum Kalsoum as this debut album (a Qobuzissime winner!) is the work of an artist of great personality. © Marc Zisman/Qobuz
From
HI-RES$26.49
CD$18.99

Alternative & Indie - Released April 24, 2020 | Beyond The Groove - Blue Note Records

Hi-Res Distinctions Qobuzissime
It’s a well-known cliché: two heads are better than one. Two years after his debut album, the 24-year-old London multi-instrumentalist Tom Misch (who has a distinctly Jamiroquai-esque sound) has partnered up with 27-year-old drummer/producer Yussef Dayes (the brain behind United Vibrations and one half of the electro-jazz duo Yussef Kamaal) for this irresistible album What Kinda Music. Up until now, Misch has cooked up a gourmet mix of smooth jazz syrup, funky foam, droplets of soul, hip-hop spices and a pinch of velvety pop, inviting along a star-studded line-up including De La Soul, GoldLink, Loyle Carner and Poppy Ajudha while sampling from the likes of Roy Hargrove, The Crusaders, Stevie Wonder and Patrick Watson. All these flavours and sounds form the foundation of this 2020 vintage, making the rhythmic side even more solid. Yussef Dayes jazzes up his interventions and makes his improvisations even more sophisticated. Each artist brings their own contribution to this truly collaborative work and the record strikes a perfect balance of voice and instrumentals. Both artists grew up in Peckham in South London and Tom Misch even saw Dayes play drums in the school talent show when he was 9! “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and I have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible.” It’s this perfect symbiosis between accessibility and refined genre fluidity that makes What Kinda Music sound like a laidback trip - perfect record for electro-jazz geeks. Plus, there’s another reason for Tom Misch and Yussef Dayes to bulge their chests with pride: their album has been released on the prestigious label Blue Note, confirming that they embody a certain contemporary jazz sound. “Everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realize it doesn’t have to be that way.” As for the featuring artists, the duo invited along Freddie Gibbs (who raps on Nightrider), Rocca Palladino (son of the illustrious bassist Pino Palladino who often practices with Alfa Mist) and the saxophonist Kaidi Akinnibi. An immediate Qobuzissime, this record is the umpteenth proof that the London jazz scene is alive and kicking… and now showing its funky side! © Marc Zisman/Qobuz
From
HI-RES$27.59
CD$16.79

Alternative & Indie - Released April 3, 2020 | Bella Union

Hi-Res Distinctions Qobuzissime
Dusty Springfield, Adele, Lulu, Sandie Shaw, Duffy… The tradition of British soul pop singers has always been rich, and Ren Harvieu’s second and Qobuzissime album continues this retro movement which saw great success in the 1960s. However, it hasn’t always been easy for this Mancunian singer: in 2011, fresh from signing for the Island label for whom she was recording her first album, she broke her back in a serious accident and spent months on a hospital bed. Her album Through the Night was nevertheless released but the slim success resulted in a long and tumultuous period of self-doubt for the singer. It’s a time she has now put behind her and which she touches on with Spirit Me Away and You Don’t Know Me, two highlights of this album Revel in the Drama. This sophomore record certainly feels like the result of her meeting with Magic Numbers frontman Romeo Stodart, who helped her rediscover her passion for music and her inspiration to record again. More refined than its predecessor, Revel in the Drama broaches the influences of this enchanting torch singer; while the spirit of Dusty Springfield (or closer to today, Rumer) is never far, it’s certainly KD Lang and her vocal inflections that you think of when listening. Ren Harvieu’s writing is however unique to herself. The sombre and bleak sequences are always punctuated with her signature humour, some light sarcasm that is 100% British. The freedom she expresses in her tone and her writing is similar to that of Fiona Apple, one of her idols. Revel in the Drama is a magnificent collection of timeless and moving songs, jewels of vintage pop enrobed in superb easy listening tones and high-quality arrangements that you can hum along to long into the night. ©️ Marc Zisman/Qobuz
From
HI-RES$27.59
CD$16.79
925

Alternative & Indie - Released March 27, 2020 | Domino Recording Co

Hi-Res Distinctions Qobuzissime
Saying that a band doesn’t sound like any others is almost like saying that it sounds like all the others. Nowadays, we live in the era of open stylistic borders and only listening to things on shuffle, making Sorry (a band that is 100% 2020) even less categorizable. With an authentic rock spirit and ideas that are about as tidy as a teenager’s bedroom, Asha Lorenz and Louis O’Bryen’s first album is one of the most astonishing albums at the moment. Time will have no doubt helped these two Londoners perfect 925 as they have known each other since secondary school. No competition here, just a great collaborative effort that sees them exchange the microphone over the course of the album’s thirteen tracks, and also sharing it, much like Sonic Youth did years ago. In fact, you often think of a softer version of their New York elders when listening to this record. Like them, Sorry doesn’t smile, instead pouting with lazy nonchalance that could push you away instead of pulling you in… and yet they are fascinating. The Guardian summed it up perfectly: Sorry is “the band making ennui sexy”. The band borrows from various genres and legends: a slacker attitude from grunge, guitars from Pixies (Perfect), sultry cheek from Garbage (Snakes), a certain junky imagery from The Kills (More), intoxicating saxophone from the no wave movement and a shadowy vision from post-punk. You have to listen to this Qobuzissime on repeat to appreciate its originality and end up being enchanted by it. An album you simply can’t miss: Sorry, no excuses. © Marc Zisman/Qobuz
From
HI-RES$27.59
CD$16.79

Alternative & Indie - Released February 28, 2020 | Heavenly Recordings

Hi-Res Distinctions Qobuzissime
From being “three weirdos in Halifax”, sisters Esmé and Sidonie Hand-Halford (bass and drums respectively) and their childhood friend Henry Carlyle Wade (guitar) have become the indie band to watch. “If I went to space, I might never come back”, confesses Esmé who provides solid bass and delicate vocals for The Orielles. After the drowsy, Stone Roses-influenced Silver Dollar Moment was released in 2018, this second off-the-wall record bounces from Turkish psych music à la Altin Gün to experimental Italian cinema, in order to further distance themselves from 90s guitar rock. Two years is a long time when you’re on the cusp of your twenties, leaving the relative quiet of Halifax, West Yorkshire to go on tour in Europe. In the elapsed time, The Orielles have seen the arrival of Alex Stephens to play keyboard, a “highly educational” cover of Peggy Gou’s It Makes You Forget (Itgehane) which opened them up to dance music and a remix by the late Andrew Weatherall of their track Sugar Tastes Like Salt. Recorded at Stockport’s Eve Studios with their producer Marta Salogni (Liars, Temples, Björk and The Moonlandingz), Disco Volador puts melody front and centre, turning old into new. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition”, says the drummer. Aerial 60s pop (Come Down on Jupiter), experimental disco (Space Samba (Disco Volador Theme)), 70s-style funk (Bobbie’s Second World, Euro Borealis), uptempo psychedelic (Rapid i, 7th Dynamic Goo) and Khruangbin-esque soaring tunes, it’s all top class. Bright, catchy and Qobuzissime. © Charlotte Saintoin/Qobuz
From
HI-RES$25.99
CD$17.39

Ambient - Released February 7, 2020 | Gondwana Records

Hi-Res Distinctions Qobuzissime
Sunda Arc, the project started in 2018 by brothers Nick and Jordan Smart (from folk/jazz band Mammal Hands) with the EP Flicker on Manchester label Gondwana Records (GoGo Penguin, Portico Quartet) takes its next big step by releasing its first full length album, which would not have appeared out of place in the Erased Tapes catalogue. Like Nils Frahm, the two brothers harmoniously blend electronics with acoustics and are obsessed with “finding the ghost in the machine”, a concept dear to Terry Riley. The ghost must be floating around Vespers, a beautifully ambient track to be listened to curled up in front of a fire, the closing piece of an album which is perfectly on trend, somewhere between Jon Hopkins, Max Cooper and Rival Consoles. But although the ambient contemplations have got a special appeal, the Smart brothers don’t recoil from a dancing atmosphere – without crossing the line into club music however – on the hypnotic Cluster, the obsessive Dawn (which reminds you of certain Caribou productions) and Daemon, a nod to Moderat. They also know how to go lighter, almost into pop, like on the single Hymn which demonstrates their ability to make this project evolve into something very promising indeed. © Smaël Bouaici/Qobuz
From
HI-RES$26.49
CD$18.99

Pop - Released September 20, 2019 | Verve Forecast

Hi-Res Distinctions Qobuzissime
The American dream is an inexhaustible subject. It is approached head-on, sideways, from behind, above and below. It is the ultimate fuel for hordes of songwriters; even when they weren’t even born in America. As is the case for J.S. Ondara. This young Kenyan, who his label calls "the link between Tracy Chapman and Michael Kiwanuka" (an easy claim but not wrong), went there to try his luck. In 2013, Ondara dropped anchor at his aunt's house in Minneapolis. Having only previously known his native Nairobi, the musician took his songs into bars, clubs and even out onto the street, equipped with only his voice and a simple acoustic guitar, perhaps in the hope of becoming a third millennium Bob Dylan. The Dylan of The Freewheelin', his favourite record; Springsteen's Nebraska also being one of his top picks... But to limit himself to cloning those giants wouldn’t be very interesting. And Tales of America avoids that. First of all, J.S. Ondara has his own voice. His plaintive tone is a little androgynous and makes him truly unique. On the instrumental side, he adds some more daring flavours with the help of the great Andrew Bird, Griffin Goldsmith from Dawes and Joey Ryan from the Milk Carton Kids duo. In a divided America and a crisis-riddled world, J. S. Ondara's songs are more than just bandages, they’re powerful balms that penetrate the skin and warm the heart. This is a Qobuzissime that we needed... © Marc Zisman/Qobuz
From
HI-RES$26.99
CD$23.39

Pop - Released September 20, 2019 | Columbia

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music - Qobuzissime
Everyone likes a bit of soul and old-school funk! Successors to Curtis Mayfield, Al Green, Prince, Sly Stone et al are born every day. But more often than not, interest in the genre is lacking… In only two albums, the band Alabama Shakes have displayed an original and torrid take on southern garage funk. Their secret ingredient? Brittany Howard, the band’s singer of enormous character and gravitas. Such a sense of charisma is all-the-more present in this shock debut solo album. The record holds onto some of Alabama Shakes’ merits but also delivers a more atypical, less conventional feeling. Howard makes our heads spin with this psychedelic and trippy funk record that verges on the experimental with tracks such as the opening History Repeats with lively guitars, stumbling rhythms and chaotic vocals. The Athens native is joined by limited backing musicians that compose of Zac Cockrell, the bassist for Alabama Shakes, and two prevalent, unique jazzmen, Robert Glasper on piano and keys and Nate Smith on drums. On top of this rich yet minimalist backdrop, Howard weaves in a study of both herself and her contemporaries. Everything is here! Homosexuality (Georgia), death (the album’s title, Jaime, is the name of her older sister who was lost to cancer at the age of 13 when Howard was only 8), religion (He Loves Me) and the racism that she, the daughter of a white mother and black father, has often encountered (Goat Head relates to the morning when her mother found all four tires of her car slashed and the severed head of a goat on the garden bench). You will be left shaken after listening to this exciting and very personal record. Howard’s values, references and influences (Prince, Curtis and Sly) are clearly heard – or so it seems – but the end result is one of great originality. © Marc Zisman/Qobuz
From
HI-RES$20.79
CD$13.99

Alternative & Indie - Released July 19, 2019 | Mr Bongo

Hi-Res Distinctions Qobuzissime
Anatolian lo-fi samba, sung in English, French and Turkish! With such a colourful program, Mantra Moderne is poised to be summer 2019’s most iconic album. This indie-world soundtrack is the lovechild of duo Kit Sebastian. Kit Martin, the one-man-bedroom-band, lives between London and Paris, writing and performing the songs on this first album over which his accomplice Merve Erdem lays her voice. The singer from Istanbul cast her anchor in the British capital. These days it seems unexpected stylistic fusions are all the rage, and Mantra Moderne is the flag bearer for that trend. From Brazilian tropicalism to 60s British pop, and turkish psychedelics to analog electronica, Kit Sebastian like to sift through 20th century music just as Stereolab, Broadcast and Khruangbin did before them. Their cabinet of curiosities includes acoustic and analog instruments, tablas, darbukas, a balalaïka, an oud, a Korg MS-20 and a Farfisa organ. The pair crafts a deliciously minimalistic symphony. It’s mischievous, and oh-so-sixties: The most exotic Qobuzissime of the year! © Marc Zisman/Qobuz
From
HI-RES$27.59
CD$16.79

Alternative & Indie - Released June 14, 2019 | Heavenly Recordings

Hi-Res Distinctions Qobuzissime
Lost in the middle of a beige factory, Ms. Brown stands tall. The well-designed album cover is both clever and visually arresting. By day, this young woman is a graphic designer at MailChimp. “It’s like I have two full-time jobs: designer and musician,” she says, but we certainly prefer her as a musician by night. Under her work uniform, Mattiel (pronounced Ma-Teel) Brown hides a voice with a fierce and impolite tone. She grew up in the vast countryside of Georgia – from where this brusqueness and thick skin probably originated – before moving to the more urban Atlanta. It was here that Mattiel met Randy Michael and Jonah Swilley, with whom she would start writing what would go on to be the basis of Satis Factory. They managed the instrumental compositions, while she took care of the lyrics.It's a perfect formula that works beautifully. The riffs are catchy (Je Ne Me Connais Pas), the melodies are heady, and there’s this distinctive personality that the Burger Records team are very used to sniffing out. Mattiel brings back ‘60s folk with accents of surf pop, old-fashioned blues and vintage soul. A balanced blend of influences, among which she cites Screamin’ Jay Hawkins, André 3000, Marc Bolan, the Staple Singers and Jack White. Very promising. © Charlotte Saintoin/Qobuz
From
HI-RES$17.29
CD$12.29

Alternative & Indie - Released April 12, 2019 | Partisan Records

Hi-Res Distinctions 4F de Télérama - Qobuzissime
Having barely recovered from Songs of Praise - the first album and Qobuzissime of the London band Shame - the eyes of rock’n’roll are looking further north, to Dublin. Here, an equally raucous band called Fontaines D.C. are fighting tooth and nail to show that the post-punk revival is most certainly still alive and kicking (and punching). If Fontaines D.C.’s debut album, Dogrel, has its roots in familiar ground (The Fall, Joy Division, Gang of Four, Public Image Ltd.), the fertiliser is most certainly different. This album oozes a quintessential Irish sensibility, one that cries out for a picture-postcard Dublin that’s been wiped out by globalisation and gentrification. Dogrel ends with Dublin City Sky, an acoustic ballad that could have been taken straight out of a Pogues album - The Pogues being Fontaines D.C.’s favourite band - evoking the smell of old pubs and freshly pulled pints of Guinness. Grian Chatten's band also has the distinction of honouring literature and poetry just as much as rock'n'roll and folk music. The result is an intelligently crafted pure post-punk record. That is the strength of Dogrel. Unapologetically literate, angry and always audible. On Big, Chatten sings “my childhood was small, but I’m gonna be big”. With Dogrel, Fontaines D.C. are quickly heading towards becoming exactly that. © Marc Zisman/Qobuz
From
HI-RES$27.59
CD$16.79

Alternative & Indie - Released March 22, 2019 | ATO Records

Hi-Res Distinctions Pitchfork: Best New Music - Qobuzissime
Witness a masterpiece coming from a young London native who says she learned the guitar by copying songs from the Libertines.. At home, her Dad would listen to Turkish folk, while Mum would listen to classical music, Simon & Garfunkel and Cat Stevens. For her own personal Holy Trinity, Nilüfer Yanya has chosen Nina Simone, Amy Winehouse and the Pixies. What a treat! Nilüfer Yanya’s music is turning rock and soul into the sublime with raw energy and impudence. Miss Universe, her first album, relies on the elegant fusion of her influences: a blend of the records she listened throughout the years. Even the album’s structure is perfect with infectious hits made up of catchy choruses (In Your Head), sensitive but not overly sentimental ballads (Monsters Under the Bed), experimental pop (Paradise), minimalist R&B (Safety Net) and a thousand other delights. Above all, there is a freshness that refuses to conform to the confines of modern-day rock and pop. With this much musical charisma, this wide a vocal spectrum and such maturity of writing at only 23 years old, Nilüfer Yanya is well worth a Qobuzissme! © Marc Zisman/Qobuz
From
HI-RES$23.29
CD$20.29

Alternative & Indie - Released March 22, 2019 | Sub Pop Records

Hi-Res Distinctions Qobuzissime
The album cover is intriguing; Stetson on his head, mask over his eyes and tasseled veil on the mouth. Orville Peck comes across as yet another ‘masked avenger’, camouflaged, helmeted, hidden, ready to join Daft Punk, Cascadeur, The Residents, MF Doom and other SBTRKT. Basically, the man has the appearance of a cowboy escaped from one of David Lynch’s dreams. He’s a kind of improbable version of the Lone Ranger, the fictional character who appeared in a radio soap opera in 1933, then in a television series fifteen years later: A true icon of American pop culture ... When Peck finally opens his mouth, his voice is that of a timeless crooner. There is a touch of Elvis, Roy Orbison, Chris Isaak, Lloyd Cole and Marlon Williams in this typical lover-voice that Orville Peck never overdoes. With Pony, his debut album and Qobuzissime under the excellent label Sub Pop, this mysterious man of unknown origin and unknown age, connects staggered romantic ballads and dreamy laments. Great songs are draped in production where reverb, twang guitars, cotton drums and impressionist steel-guitar reigns. It’s like country and shoegaze after a torrid night of love. Broken hearts, deserted motels, infinite highways and faded western landscapes, this is a beautiful record that reveals Orville Peck to be the talented painter of a fascinating picture. All that’s left to do is close your eyes and dream with him. © Marc Zisman/Qobuz
From
HI-RES$25.99
CD$17.39

Alternative & Indie - Released March 8, 2019 | Alice Phoebe Lou

Hi-Res Distinctions Qobuzissime
With her long blond hair and sullen expressions, Alice Phoebe Lou is stunning. But beyond just her soft-sounding name and striking looks, what truly makes her stand out is her crystalline voice that slides from high to low frequencies with mind-blowing ease. Originally from Cape Town, the singer-songwriter’s wanderlust led her to Amsterdam, Paris and Berlin in her late adolescence. Attracted by the exotic feel of the German capital, the young Alice decided to move there permanently, making a living from busking. Before bringing out her debut album Orbit in 2016 (a beautiful record of stripped-back jazz and folk), the young vagabond would parade her music around the city’s bars, parks and streets."No rules, no rules" she sings on Something Holy - a maxim that also applies to her music. In the same vein as Orbit, this second album takes us to another galaxy, one that’s composed of Alice’s dreamy folk, blues and jazz vocals. Allowing the voice to breathe, Paper Castles comprises ten lightweight tracks, which are infused with soft, shimmering synths. With discreet guitars, soft xylophones (Ocean), soaring vocals (Red), tinkering notes (Fynbos), ethereal productions and slow tempos (Galaxies), everything seems touched by Alice's grace. Wonderful. © Charlotte Saintoin/Qobuz