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CD€ 14,99

Rock - Verschenen op 30 oktober 2020 | Craft Recordings

CD€ 3,99

Pop - Verschenen op 30 oktober 2020 | Craft Recordings

CD€ 3,99

Rock - Verschenen op 2 oktober 2020 | Craft Recordings

CD€ 19,49

Rock - Verschenen op 8 juni 2020 | Craft Recordings

CD€ 14,99

Alternative en Indie - Verschenen op 10 april 2020 | Craft Recordings

HI-RES€ 21,49
CD€ 14,99

Alternative en Indie - Verschenen op 1 november 2019 | Craft Recordings

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A brilliant distillation of '90s alt-rock. A crass and noisy attempt to cash in on grunge. A band in need of rock tunes for an upcoming tour after six years off the road. The fact that R.E.M.'s ninth album Monster can after still inspire such polarities is proof enough that it's worth a fresh listen. New mixes by Scott Litt, a trove of demos and a 1995 live show from Chicago featuring mostly a post-I.R.S. years setlist fills out the portrait of the 25th Anniversary reissue of one of R.E.M.'s most contentious albums. With liner notes in which Peter Buck admits, "We wanted to get away from who we were," Monster 25 is the sound not only of Buck, Michael Stipe, Mike Mills and Bill Berry pondering what it means to suddenly be rock stars, but also of a band deep in one of those periodic left turns that artists need to pass through or call it quits. And while the lyrics are typical Stipe-ian jabberwocky mangled further by vocals buried in the original mix, it's Peter Buck's ever-present guitar, bashing out crunchy power chords bathed in delay, reverb and buzzsaw distortion, that remains the album's most controversial aspect as he ditches his former loyalty to acoustic textures and intricate arrangements for an overdriven, rocked up Cobain-life heft and snarl that's fiercely front and center in the mix. The remixed album is a very different experience from the original: the instrumental parts are now clearly delineated, instead of a blurry, roaring mix. "Tongue" drops the four beat count off in favor of a simple piano and loud tambourine. The organ, which was prominent in the original, has been lowered in the remix. "Circus Envy's" sizzling guitar distortion has been dialed back and Berry's drums have been pulled forward. Most noticeable of all are Stipe's vocals, some of which are entirely different takes from the original album's. "Crush with Eyeliner" begins with Stipe voicing an unaccompanied "la, la, la" and continues with a more stylized T. Rex and Iggy Pop-influenced vocal take than the original. Some of the changes are outright deletions. Buck's organ in "Let Me In," and his choppy guitar part in "What's the Frequency, Kenneth?", and the percussion in "You" are completely gone. These changes are needed context, connecting the album to the band's musical progression and in the process making it seem less like an outlier. © Robert Baird / Qobuz
HI-RES€ 21,49
CD€ 14,99

Alternative en Indie - Verschenen op 1 november 2019 | Craft Recordings

Hi-Res
A brilliant distillation of '90s alt-rock. A crass and noisy attempt to cash in on grunge. A band in need of rock tunes for an upcoming tour after six years off the road. The fact that R.E.M.'s ninth album Monster can after still inspire such polarities is proof enough that it's worth a fresh listen. New mixes by Scott Litt, a trove of demos and a 1995 live show from Chicago featuring mostly a post-I.R.S. years setlist fills out the portrait of the 25th Anniversary reissue of one of R.E.M.'s most contentious albums. With liner notes in which Peter Buck admits, "We wanted to get away from who we were," Monster 25 is the sound not only of Buck, Michael Stipe, Mike Mills and Bill Berry pondering what it means to suddenly be rock stars, but also of a band deep in one of those periodic left turns that artists need to pass through or call it quits. And while the lyrics are typical Stipe-ian jabberwocky mangled further by vocals buried in the original mix, it's Peter Buck's ever-present guitar, bashing out crunchy power chords bathed in delay, reverb and buzzsaw distortion, that remains the album's most controversial aspect as he ditches his former loyalty to acoustic textures and intricate arrangements for an overdriven, rocked up Cobain-life heft and snarl that's fiercely front and center in the mix. The remixed album is a very different experience from the original: the instrumental parts are now clearly delineated, instead of a blurry, roaring mix. "Tongue" drops the four beat count off in favor of a simple piano and loud tambourine. The organ, which was prominent in the original, has been lowered in the remix. "Circus Envy's" sizzling guitar distortion has been dialed back and Berry's drums have been pulled forward. Most noticeable of all are Stipe's vocals, some of which are entirely different takes from the original album's. "Crush with Eyeliner" begins with Stipe voicing an unaccompanied "la, la, la" and continues with a more stylized T. Rex and Iggy Pop-influenced vocal take than the original. Some of the changes are outright deletions. Buck's organ in "Let Me In," and his choppy guitar part in "What's the Frequency, Kenneth?", and the percussion in "You" are completely gone. These changes are needed context, connecting the album to the band's musical progression and in the process making it seem less like an outlier. © Robert Baird / Qobuz
CD€ 55,99

Alternative en Indie - Verschenen op 1 november 2019 | Craft Recordings

A brilliant distillation of '90s alt-rock. A crass and noisy attempt to cash in on grunge. A band in need of rock tunes for an upcoming tour after six years off the road. The fact that R.E.M.'s ninth album Monster can after still inspire such polarities is proof enough that it's worth a fresh listen. New mixes by Scott Litt, a trove of demos and a 1995 live show from Chicago featuring mostly a post-I.R.S. years setlist fills out the portrait of the 25th Anniversary reissue of one of R.E.M.'s most contentious albums. With liner notes in which Peter Buck admits, "We wanted to get away from who we were," Monster 25 is the sound not only of Buck, Michael Stipe, Mike Mills and Bill Berry pondering what it means to suddenly be rock stars, but also of a band deep in one of those periodic left turns that artists need to pass through or call it quits. And while the lyrics are typical Stipe-ian jabberwocky mangled further by vocals buried in the original mix, it's Peter Buck's ever-present guitar, bashing out crunchy power chords bathed in delay, reverb and buzzsaw distortion, that remains the album's most controversial aspect as he ditches his former loyalty to acoustic textures and intricate arrangements for an overdriven, rocked up Cobain-life heft and snarl that's fiercely front and center in the mix. The remixed album is a very different experience from the original: the instrumental parts are now clearly delineated, instead of a blurry, roaring mix. "Tongue" drops the four beat count off in favor of a simple piano and loud tambourine. The organ, which was prominent in the original, has been lowered in the remix. "Circus Envy's" sizzling guitar distortion has been dialed back and Berry's drums have been pulled forward. Most noticeable of all are Stipe's vocals, some of which are entirely different takes from the original album's. "Crush with Eyeliner" begins with Stipe voicing an unaccompanied "la, la, la" and continues with a more stylized T. Rex and Iggy Pop-influenced vocal take than the original. Some of the changes are outright deletions. Buck's organ in "Let Me In," and his choppy guitar part in "What's the Frequency, Kenneth?", and the percussion in "You" are completely gone. These changes are needed context, connecting the album to the band's musical progression and in the process making it seem less like an outlier. © Robert Baird / Qobuz
CD€ 14,99

Alternative en Indie - Verschenen op 1 november 2019 | Craft Recordings

CD€ 1,99

Alternative en Indie - Verschenen op 25 oktober 2019 | Craft Recordings

CD€ 1,99

Alternative en Indie - Verschenen op 11 oktober 2019 | Craft Recordings

CD€ 1,99

Alternative en Indie - Verschenen op 27 september 2019 | Craft Recordings

CD€ 3,99

Alternative en Indie - Verschenen op 13 september 2019 | Craft Recordings

CD€ 1,99

Alternative en Indie - Verschenen op 4 september 2019 | Craft Recordings

HI-RES€ 21,49
CD€ 14,99

Rock - Verschenen op 2 augustus 2019 | Craft Recordings

Hi-Res
Creedence were the first to sign up for Woodstock. In April 1969, the Fogerty brothers' band pocketed a cheque for $10,000. Now that they'd landed such a big fish, the organisers knew that other big names would start looking for their own spot on the bill of what was set to be THE festival of the year... But all the same, the group were disappointed to find themselves with a very late billing, between half past midnight and 1:20am, after the Grateful Dead. But that didn't do anything to dampen a perfect performance, presented here in full and remastered. In 1969, Creedence Clearwater Revival was already one of the most popular acts of the day, thanks to their three albums Creedence Clearwater Revival (May 1968), Bayou Country (January 1969) and Green River (August 1969, released two weeks before Woodstock). At the height of the reign of the Beatles and Stones, John Fogerty's Californian gang had something original up their sleeve: savage, raw rock'n'roll, built from rough-hewn, unadorned blues and country. Creedence marked themselves out with their marriage of redneck ways and a hippie style; of tradition and rock'n'roll modernity. Flanked by his big brother Tom, drummer Doug Clifford and bassist Stu Cook, John Fogerty would serve up Dantean hits like Born On The Bayou, Proud Mary and Green River: which are all given a lively, strong treatment here. As ever, Fogerty brays down the mic like a madman (his version of Screamin’ Jay Hawkins's I Put a Spell on You is a show-stopper) while his brother provides pared-down, sharp and affecting guitar lines. With Creedence, you don't get any blowhard solos or incontinent psychedelics. Just a full-frontal blast. Bam! © Marc Zisman/Qobuz
HI-RES€ 21,49
CD€ 14,99

Pop - Verschenen op 2 augustus 2019 | Craft Recordings

Hi-Res
CD€ 14,99

Rock - Verschenen op 2 augustus 2019 | Craft Recordings

De leden van Creedence Clearwater Revival hebben hun optreden op Woodstock altijd als middelmatig beoordeeld. De uur durende set haalde noch de documentaire over het festival noch de soundtrack. Vijftig jaar later wordt het optreden alsnog op plaat uitgebracht en blijkt dat er op het optreden weinig af te dingen valt. De band speelt fraaie liveversies van nummers als "Born on the Bayou", "Green River" en "Bootleg". © TiVo
CD€ 14,99

Pop - Verschenen op 2 augustus 2019 | Craft Recordings

CD€ 14,99

Rock - Verschenen op 21 juni 2019 | Craft Recordings