Albums

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Alternative en Indie - Verschenen op 28 juni 2019 | Nonesuch

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Dan and Pat have been writing the handbook for rock’n’roll for almost 20 years. A decade after leaving their hometown Akron in Ohio for Nashville, the Black Keys have produced Let’s Rock, a sort of return to the roots of original classic rock that pays homage to the electric guitar from the very first minute to the very last. In other words, the title of the album says it all. After both having worked with various other musicians, the pair have accepted one another’s infidelities and are back together. Dan Auerbach founded the Easy Eye Sound label named after his studio in Nashville, released his second solo album, Waiting on a Song, and produced a fine selection of albums for Yola, Shannon & The Clams, Dee White, Sonny Smith, Robert Finley and Gibson Brothers. Meanwhile, Pat Carney produced and recorded music with Calvin Johnson Michelle Branch, Tobias Jesso, Jr., Jessy Wilson, Tennis, Repeat Repeat, Wild Belle, Sad Planets Turbo Fruits and many more, and last but not least, he wrote the theme-song for BoJack Horseman on Netflix. After this success, Auerbach admits that it felt like the perfect time for their reunion, “That period really cleared my mind, and it made it so much more enjoyable when I got back together with Pat, because we’d had all that time off. I feel like the record is a testament to that feeling”.Let’s Rock revisits all the great big seventies guitar sounds that the duo admire. A vast array ranges from Glenn Schwartz and Joe Walsh from James Gang to Billy Gibbons from ZZ Top and Stealers Wheel (Sit Around and Miss You is very similar to Stuck in the Middle With You), T. Rex, Link Wray (Polydor period), Blue Öyster Cult and many more. “I didn’t want to overthink it” adds Auerbach. “I wanted it to feel spontaneous. I wanted to be able to record something not dissimilar to ‘Louie Louie’ and be perfectly happy with it. I was looking for the Troggs!”. “Funny, I was looking for the Stooges ‘Down on the Street’”, laughs Carney, who insists on his love for “big and dumb songs. They’re my favourite. I think on this record Dan and I came to a similar place in terms of what we wanted.  I was sitting in my studio for the last year just playing electric guitar, and for the first time in a while, Dan was playing a lot of electric guitar. The record is like a homage to electric guitar [..] We took a simple approach and trimmed all the fat like we used to”. All that now remains is the meat, the best bit! © Marc Zisman/Qobuz
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Pop - Verschenen op 7 juni 2019 | Decca (UMO)

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Alternative en Indie - Verschenen op 12 juli 2019 | Harvest Records

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Rock - Verschenen op 12 juli 2019 | Paul McCartney Catalog

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June 27th, 2007 at Amoeba music - the most popular record store in Hollywood - Paul McCartney steps on stage for an undisclosed, 90 minute performance, to a small but eager crowd. The venue is more like the Cavern Club than Wembley, which might have prompted this introductory statement: "Welcome to Amoeba - it's got to be the most surreal gig ever. The management has asked us to point out no shoplifting please”. Cue 21 songs, from his solo discography as well as his catalog as a Beatle. Four of these recordings would be released the same year in a limited edition: Only Mama Knows, C Moon, That Was Me, and I Saw Her Standing There. In 2009, these were republished in a CD version. But 17 other songs had yet to be made available to the public - until today. Backed by a very solid band, with Dave Arch (piano), Rusty Anderson (guitar), Brian Ray (bass) and Abe Laboriel, Jr. (drums), Macca is given free reign to sing his heart out. During the opener Drive My Car, his voice is strong and self-assured; as the show goes on, it is noticeably tinged with emotion. On an exceptional performance of The Long and Winding Road, the moment is crystallized - the sheer adoration of the crowd, and the clear enjoyment Paul seems to be taking out of the performance, clearly lend some sort of magic to the whole thing. Live at Amoeba 2007 is a grand slam from start to finish - usual business for Sir Paul McCartney. © Alexis Renaudat/Qobuz 
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Pop - Verschenen op 2 november 2018 | Columbia

Hi-Res Onderscheidingen Pitchfork: Best New Music
Not many people would put their money on a mix of flamenco, R&B and electro - at least, on paper it sounds a bit cheesy. And yet, Rosalía Vila Tobella has made it work. Critics have been praising the Catalan for the “new flamenco” she developed on her 2017 Los Angeles album, and this year she shows no sign of slowing down. Since releasing Malamente, the contagious first track from El Mal Querer in May 2018, with a music video directed and produced by the Spanish group Canada, she has earned 5 nominations at the Latin Grammy Awards. And Rosalía is following up with yet more brilliance: featuring on J Balvin’s album Vibras, recording in the studio with Pharrell Williams and being called up for Pedro Almodovar’s next film… So here it is, the highly anticipated new album produced by El Guincho, a Spaniard signed by the English label Young Turks who has a passion for sampling tropical beats and enjoys cutting and pasting hand-claps, finger-clicks and sometimes Rosalía’s voice, as we hear on De Aqui No Sales, which is reminiscent of Björk’s work. Bagdad is a combination of R&B and flamenco, while there’s more of a shift towards electro on Que No Salga La Luna. The Spanish singer generally focuses on melody, though does at certain points divulge in more experimental sounds and it’s there that we see the more adventurous side of her phenomenal voice. © Smaël Bouaici/Qobuz
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Alternative en Indie - Verschenen op 21 juni 2019 | Epitaph

Hi-Res Onderscheidingen Pitchfork: Best New Music
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Alternative en Indie - Verschenen op 22 maart 2019 | Warner Records

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Youth says, "I can do it all." But years pass and suddenly, in music at least, the idea of collaborators, of stacking the deck in your favor while paying tribute to the past begins to have a canny appeal. There's no questioning Jenny Lewis' prodigious talents—Vegas-born successful child actor, onetime leader of the band Rilo Kiley and now, on her fourth solo album, a fan of old pros and the success of the California sound of the 70s. Using the piano on which Carole King recorded Tapestry, and with vocals recorded in Sinatra's Capitol Records Studio B, On The Line evinces a cool, effective nerve and perspective in both Lewis’ dynamic singing and her multi-faceted songwriting, which here serve bruised, reflective lyrics about rampant familial dysfunction, hot sex and the edge between self-discovery and self-destruction. The wonderful specificity of her words adds vivid flavors as she argues about Elliott Smith and grenadine, plays Candy Crush, cries like Meryl Streep and looks up "at the chemtrail haze." Where her last album The Voyager leaned towards an 80’s rock sound, this stronger set revels in a seductive musical homage to 70’s Fleetwood Mac-like L.A. decadence and hooky pop/rock. Lewis' sharp, imagistic originals are the star here. The album’s rocker, "Red Bull and Hennessy," complete with an abrupt ending, is appropriately intoxicating. Led by an acoustic piano, "Wasted Youth" examines one of Lewis favorite subjects. If there’s any controversy here it lies in the gleaming sound and glossy production choices which, centered on her voice, layers on the reverb, big drums and a booming ambience. And then there's that aforementioned supporting cast. Starting with heavyweights like Beck and Ryan Adams producing and playing on the album, the band here speaks volumes about Lewis’ reputation and talent and includes drummers Jim Keltner and Ringo Starr, guitarists Smokey Hormel and Jason Faulkner, bassist Don Was and keyboardist Benmont Tench. Simultaneously harrowing, irresistible and more than a little calculating, On The Line, with its accumulated experience and wisdom is a career milestone. © Robert Baird / Qobuz
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Pop - Verschenen op 19 april 2019 | Parlophone France

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Pop - Verschenen op 3 mei 2019 | Low Country Sound - Elektra

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Rock - Verschenen op 7 juni 2019 | Parlophone UK

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Rock - Verschenen op 14 december 2018 | Columbia

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A few months after the release of his autobiography Born to Run, Bruce Springsteen took to the stage of the Walter Kerr Theatre in New York for a number of stunning concerts. The Boss performs tracks from his extensive music career acoustically on guitar and piano, intertwining his compositions with personal anecdotes. The result is this intense and unfiltered live performance, including the stripped-back and powerful versions of tracks from his albums Greetings from Asbury Park, Born in the U.S.A., Nebraska, Tracks, Born to Run, Darkness on the Edge of Town, Tunnel of Love, Magic, The Rising and Wrecking Ball …It was through these albums that the New Jersey kid became an icon, both musically and ideologically. Following in the footsteps of his idol Bob Dylan, Springsteen remains one of the most remarkable representatives of America’s powerless, providing poignant snapshots into the harsh reality of the crumpled starred flag and the supposed American Dream. The stripped-back versions of his hits Thunder Road, The Promised Land, Born in the U.S.A., Dancing in the Dark, Land of Hope and Dreams and of course Born to Run give a new perspective to a repertoire that we know so very well but never grow tired of. There’s a reason why he’s called the Boss… © Marc Zisman/Qobuz
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Rock - Verschenen op 10 mei 2019 | InsideOutMusic

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Pop - Verschenen op 31 mei 2019 | Decca (UMO) (Classics)

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Metal - Verschenen op 22 februari 2019 | Nuclear Blast

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Rock - Verschenen op 14 december 2018 | Columbia

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A few months after the release of his autobiography Born to Run, Bruce Springsteen took to the stage of the Walter Kerr Theatre in New York for a number of stunning concerts. The Boss performs tracks from his extensive music career acoustically on guitar and piano, intertwining his compositions with personal anecdotes. The result is this intense and unfiltered live performance, including the stripped-back and powerful versions of tracks from his albums Greetings from Asbury Park, Born in the U.S.A., Nebraska, Tracks, Born to Run, Darkness on the Edge of Town, Tunnel of Love, Magic, The Rising and Wrecking Ball … It was through these albums that the New Jersey kid became an icon, both musically and ideologically. Following in the footsteps of his idol Bob Dylan, Springsteen remains one of the most remarkable representatives of America’s powerless, providing poignant snapshots into the harsh reality of the crumpled starred flag and the supposed American Dream. The stripped-back versions of his hits Thunder Road, The Promised Land, Born in the U.S.A., Dancing in the Dark, Land of Hope and Dreams and of course Born to Run give a new perspective to a repertoire that we know so very well but never grow tired of. There’s a reason why he’s called the Boss… © Marc Zisman/Qobuz
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Metal - Verschenen op 5 april 2019 | ARISING EMPIRE

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Rock - Verschenen op 1 maart 2019 | Rhino

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Rock - Verschenen op 22 februari 2019 | Rhino

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Rock - Verschenen op 22 februari 2019 | Rhino

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Alternative en Indie - Verschenen op 12 april 2019 | Epitaph

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