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1143 albums gesorteerd op Date: from newest to oldest
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Alternative en Indie - Verschenen op 23 oktober 2020 | Transgressive

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Folk - Verschenen op 23 oktober 2020 | 4AD

Onderscheidingen 4F de Télérama - Pitchfork: Best New Music
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Alternative en Indie - Verschenen op 22 oktober 2020 | 4AD

Hi-Res Onderscheidingen 4F de Télérama - Pitchfork: Best New Music
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Alternative en Indie - Verschenen op 16 oktober 2020 | Concord Records

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Vocale jazz - Verschenen op 2 oktober 2020 | Verve

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In 1962, Ella Fitzgerald was at the height of her powers, about midway through recording her now-iconic series of "songbook" albums and, two years earlier, having released a barnstormer of a live album, Ella in Berlin, that solidified her position as one of the most talented and popular musicians working in the jazz idiom. Her only competition at the time was, essentially, Frank Sinatra and herself. During the course of 1962, she would release three albums: two complementary collaborations with Nelson Riddle that further pushed her into crossover territory without tarnishing her credibility or minimizing her skills, and the oft-overlooked Rhythm is My Business, a hard-swinging set that comes off breezy and soulful, but is a remarkable document of the strength of Fitzgerald and her band during this era. And it's that strength that's captured on The Lost Berlin Tapes, recorded in concert at Berlin’s Sportpalast that year. Verve Records founder Norman Granz frequently recorded live sets of many of his acts (Fitzgerald especially), and that's what accounts for both the existence and the remarkable fidelity of these "lost" tapes. (Though they were never truly lost; Granz had just stashed them away). From a performance perspective, it's unbelievable that this concert recording sat unheard for more than a half-century. Brimming with energy and benefiting from the confidence that can only come from being at the top of one's game, Ella and her band careen through 17 songs with a full-throated fervor that's greeted with an equally enthusiastic response from the crowd. The set both swings incredibly hard and evinces a cool, sophisticated polish, a combination that, again, pretty much only she and Sinatra were delivering at this scale during the era. It's the sort of casual excellence that's made to look deceptively easy. (And yes, she aces the version of "Mack the Knife" here.) Releases like this—especially in the aftermath of the devastating Universal fire that destroyed so many iconic album masters and so much unreleased material—prove that, even when we think a barrel has been fully scraped or a vault fully excavated, there will always be warm, welcome surprises to be found in the archives of these legendary artists. © Jason Ferguson/Qobuz
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Alternative en Indie - Verschenen op 2 oktober 2020 | Heavenly Recordings

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
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
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Klassiek - Verschenen op 2 oktober 2020 | Myrios Classics

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Funk - Verschenen op 25 september 2020 | Warner Records

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Prince and the Revolution released the Parade album in March 1986, after which, the following Prince projects were conceived, mostly completed, and abandoned: a single LP Dream Factory, a double-LP Dream Factory, the 3-LP Crystal Ball, a musical known as either The Dawn or Dream Factory, and a single LP Camille. Finally, in March 1987, the double-LP Sign O' The Times was released, cherry-picking highlights from most of those projects and adding brand-new material. It is—even for an artist who has gone down in history as one of the most prolific pop musicians of the 20th century—an astonishing volume of work. Even more astonishing is the consistently high quality of the work. The original Sign O' The Times has long been recognized as Prince's creative zenith, garnering the sort of contemporaneous and retrospective critical admiration that very few double albums have ever claimed. But the fact that this work was the result of a 27-year-old creating at such a fast clip and such a high level is, when you stop and think about it, not just the mark of a genius at the top of his game, but something truly singular. That uniqueness may bedevil listeners of this Super Deluxe Edition. While the Sign O' The Times album itself is, of course, still an incredible work that benefits immensely from the careful remastering (this album, probably more than any other in Prince's catalog, was in dire need of it), there is no easy way to mentally process its 45 unreleased tracks. They are sequenced in chronological order of recording, which makes sense, as there really is no other simple way the Estate could have presented this work. However—believe it or not—this isn't even everything! Due to licensing restrictions and the fact that many of these tracks exist in multiple versions, there is no way this set could be comprehensive. So, while this presentation does deny listeners the chance to compile their own versions of the Dream Factory or Camille albums from the unreleased material, it also declines to provide any sort of narrative listening experience. Which is probably for the best. When, in just two years, you can go from the height of the Revolution's powers ("In A Large Room With No Light,""Soul Psychodelicide") through a collaboration with Miles Davis ("Can I Play With U?") and a run of inventive, immersive home-studio creations ("Cosmic Day") and then on to the sounds that would define Lovesexy ("The Cocoa Boys,""Walkin' in Glory"), the only story to tell is one of a prodigy at his most prodigious. With four albums' worth of unreleased material here—nearly all of which is in surprisingly solid sonic condition—your best bet is to proceed slowly, soak it all in, and find your favorites. And, if the original album and 45 unreleased tracks wasn't enough, this set also includes a handful of edits and remixes along with the two b-sides that were released contemporaneously with the album and an absolutely blazing live set from the album's European tour. © Jason Ferguson/Qobuz
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Rock - Verschenen op 25 september 2020 | Reprise

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Unless System Of A Down reunites and proves us otherwise, there's no nu-metal band that's aged better than Deftones. Sure, the Sacramento group has always veered closer to alt-metal auteurs like Tool and A Perfect Circle than Korn or Limp Bizkit, and if that maturity came at the cost of some cheap commercial hits back in the day, then it's paid off tenfold in the long haul. On their ninth record Ohms, their first in four years, Deftones are a bunch of guys pushing 50 who sound fresher and more energized than most metal bands half their age. The band spent the 2010s toying with increasingly experimental and cerebral concepts—the sort of thing artsy bands do when they're 15 years into the game—but Ohms is a brilliant and undeniable return to form. The album marks a reunion with their original producer Terry Date (who worked the boards for their first four records), but it also brings some new blood into the fold: guitarist Stephen Carpenter's nine-string guitar. The beastly axe allows for subterranean low-ends that sound spectacular in contrast to Chino Moreno's soaring vocals. On songs like "Error" and "Radiant City," the palm-muted chugs recall gurgling djent tones, adding a rejuvenating heft to Deftones' signature blend of dreamy and dastardly. Beyond the exquisite production and all-around knockout performances, Ohms is just a great collection of songs. "Ceremony" features a smashing chorus, just a total wallop of a song, while tracks like the surging, spastic "This Link Is Dead" and the metalcore-ish "Urantia" center their unmatched might. The record's title-track closer features a bluesy riff that splatters into gangly shredding, ending the album on a mountainous peak that brings to mind early Mastodon. Considering how long Deftones have been at it, Ohms is technically a late-career record. But in this instance, at least, age is just a number. This band sounds like they're just hitting their stride. © Eli Enis/Qobuz
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Klassiek - Verschenen op 25 september 2020 | Ambronay Éditions

Booklet Onderscheidingen 4F de Télérama
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R&B - Verschenen op 18 september 2020 | RCA Records Label

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Going by the album cover, it’s pretty obvious what this record entails: Alicia Keys lays herself bare with an album that shows all the different facets of her personality. Often, when an artist makes introspection so explicit it’s a bad sign. People who want to find themselves too much risk sounding a bit unoriginal and generic. But there are exceptions to every rule. ALICIA is actually a wonderfully unique album which manages - contrary to the singer’s other records - to venture down many different avenues without constantly trying to induce tears. Between the Jamaican influences of Wasted Energy and Solange-inspired melodies, Alicia Keys often manages to abandon her piano (her favourite instrument) to concentrate not on vocal performance or positivity speeches but on an openness found in a lot of recent R&B. The result? Brilliant electronic tracks such as Authors of Forever or Me x 7, featuring Tierra Wack who drops a short but stunning verse. And let’s not forget the other guests. We find a selection of talented artists from Jill Scott (on Jill Scott) to Sampha (3 Hour Drive) and Snoh Aalegra (You Save Me), as well as smoother, more kitschy collaborations with Miguel (Show Me Love) and Khalid (So Done). While she occasionally goes back to basics with piano-voice tracks like Perfect Way to Die or Good Job, Alicia Keys reveals here her most authentic and musically-engaging album to date. © Brice Miclet/Qobuz
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Moderne jazz - Verschenen op 18 september 2020 | Bonsaï Music

Hi-Res Booklet Onderscheidingen 4F de Télérama
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Alternative en Indie - Verschenen op 18 september 2020 | X-Ray Production

Hi-Res Onderscheidingen 4F de Télérama
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Indiase muziek - Verschenen op 18 september 2020 | Glitterbeat Records

Hi-Res Booklet Onderscheidingen 4F de Télérama
After a first album which turned the heads of all fans of the world's electronic music scene, Maghreb United, the multifaceted Tunisian Sofyann Ben Youssef has set off for the roads of South East Asia. The second volume in his Ammar 808 project which, as its name indicates, is made using Roland’s legendary drum machine, the TR-808 (used by the pioneers of techno and hip-hop n the 80s). The Brussels-based producer installed himself for three weeks in Chennai, by the gulf of Bengal where he used local talents to make an album exploding with Carnatic music like we have rarely heard before. The album marks a kind of return to sources for Sofyann Ben Youssef who went to study the sitar and the tablas in New Delhi when he was 20 years old. A true concept album, Global Control / Invisible Invasion is an enormous sonic slap in the face with some completely insane tracks including the 6 minute trance song Mahaganapatim featuring incredible bass kicks and chaotic tablas. The first part of the record is sometimes comparable to Baltimore’s booty music, notably in Duryodhana which features the strident sound of the zika, a little traditional Tunisian flute, among unrestrained percussions. For all its flamboyance that will doubtless impress his fellow DJs, Ammar 808 is more accessible towards the end with the excellent Geeta duniki, a sort of electroriental synthpop which proves definitively the pertinence of the Tunisian musician’s vision. © Smaël Bouaici/Qobuz
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Alternative en Indie - Verschenen op 18 september 2020 | Castle Face

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Rock - Verschenen op 18 september 2020 | Lusafrica

Onderscheidingen 4F de Télérama
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Liederen (Frankrijk) - Verschenen op 11 september 2020 | Warner Classics

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Sabine Devieilhe and Alexandre Tharaud bring their customary clarity, finesse and insight to the works of four composers who defined the path of French art song or "mélodie" from the late 19th to the mid-20th century. In an imaginatively balanced recital, the two French luminaries perform Fauré, Debussy, Ravel and Poulenc. Their programme, built around Ravel's Cinq Chansons populaires grecques and Debussy's Verlaine setting Ariettes oubliées, takes up the themes of love, war and death and offers both favourite songs like Fauré's Après un rêve and some rarer treasures. © Erato
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Liederen - Verschenen op 11 september 2020 | harmonia mundi

Hi-Res Booklet Onderscheidingen 4F de Télérama
Nearly every setting of the poems by Kerner, Chamisso, Andersen and Heine heard in this recital dates from 1840, the year Schumann found himself totally engrossed with the song genre, producing no fewer than 138 individual lieder. This creative vein seems to mirror the inner torments that gripped the young composer at the time, while revealing the extraordinary range of his musical invention and unequalled talent of storyteller, as Samuel Hasselhorn demonstrates here, after winning first prize at the 2018 Queen Elisabeth Competition: the young German baritone’s first recording for harmonia mundi is a veritable love letter to this most intimate of art forms. © harmonia mundi
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Alternative en Indie - Verschenen op 4 september 2020 | False Idols

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A shadowy figure in the truest sense of the word, Adrian Thaws a.k.a. Tricky has never found the light switch. On Ununiform (2017), the British artist, who has been based in Berlin since 2015, reminded us that he is still one of the most gifted painters of the human soul’s darkness. This master of trip-hop is all too familiar with it. He was orphaned at a very young age, was convicted not much later and his only daughter, Mina Mazy, committed suicide in 2019 at the age of 24. Tricky, now in his fifties, continues to do Tricky. But he doesn’t stop there. On Fall Please, the first single from his 14th album Fall to Pieces, he layers his jet black world on a groove that he says he inherited from go-go music, a subgenre of funk originating from Washington in the seventies. “I’ve managed to do something I’ve never been able to do before. It’s my version of pop music, the closest I’ve got to making pop”. Elsewhere Tricky skilfully blurs the tracks, interrupting a song without warning or following a minimalist and oppressive sequence (Close Now) with a melancholic beat (Thinking Of) or a deceptively playful song (Running Off). As always, female vocals are at the heart of his creations. This time it’s the voice of an unknown Polish woman, Marta Złakowska, who he met during his last European tour and hired on the first night, in Krakow, as a backup singer. “I can tell when someone is humble and down to earth. Martha doesn’t care about being famous, she just wants to sing.” Between pure new wave and haunting trip hop, Fall to Pieces brings together more snippets of songs than truly completed compositions (Hate This Pain, Vietnam). A strange but never unpleasant feeling. Fall to Pieces is another MRI scan of the brain of a complex musician who feeds on his inner suffering. © Marc Zisman/Qobuz
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Folk - Verschenen op 4 september 2020 | Drag City Records

Onderscheidingen 4F de Télérama
In 1999, at a time when he was a nervous wreck and singing under the name Smog, Bill Callahan opened his Knock Knock album with a song called Let's Move to the Country. It was about stopping travelling and moving to the country, “just you and me”. At the end of the song, two sentences were left strangely incomplete: “Let's start…/Let's have...”. Twenty years later, Callahan covered Let's Move to the Country on Gold Record, and he’s filled in the blanks: “Let's start a family / Let's have a baby / or maybe two / ooh ooh oooh”. In real life, he settled down and started a family. He anchored himself, tamed his anxiety and opened a new chapter in his very long discography. Bill Callahan’s albums have always been intense. But in the last couple of years they have become intensely peaceful. There’s no stylistic revolution on Gold Record: Callahan always harvests his songs in the field of Americana, between wasteland country and bluesy folk by the fireside. And what makes him unique and exciting belongs only to him: that dry, low voice that hasn’t changed since the first version of Let's Move to the Country, some unusual production details, lyrics like an existential diary inspired by everyday life experiences - one song about breakfast, another about neighbours, another about Ry Cooder. A touch of humour, too. For example, Bill Callahan begins the song Pigeons with the words “Hello, I'm Johnny Cash” and ends it with a “Sincerely, L. Cohen”. In his own way (lurking in the shadows and happy to be there), he has taken over from the two giants with Gold Record. © Stéphane Deschamps/Qobuz