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Para cada género musical, los expertos de Qobuz reúnen discos imprescindibles que han marcado la historia de la música.

A través de la Discoteca Ideal, usted podrá (re)descubrir grabaciones míticas y seguir enriqueciendo su cultura musical.

Los álbumes

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Leftism 22

Leftfield

Electrónica - Publicado el 1 de enero de 1995 | Sony Music CG

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DJ-Kicks

Marcel Dettmann

Electrónica - Publicado el 14 de octubre de 2016 | !K7 Records

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Genius Of Time

Larry Levan

Dance - Publicado el 1 de julio de 2015 | UMC (Universal Music Catalogue)

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Dark Energy

Jlin

Electrónica - Publicado el 23 de marzo de 2015 | Planet Mu Records Ltd.

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The music associated with Chicago's juke/footwork scene is fast, frenetic, complex, and often highly aggressive, as it is typically intended to soundtrack dance battles. The tracks produced by Jlin, a steel mill worker from nearby Gary, Indiana named Jerrilynn Patton, use footwork as a venue to express frustration, anger, and depression. The screams and horror movie samples ("You don't want to hurt anyone," "But I do, and I'm sorry") on tracks such as "Guantanamo" and "Abnormal Restriction" sound downright evil, and are a far cry from the more hedonistic, drug-glorifying tracks by artists such as DJ Rashad and DJ Spinn. While those artists' tracks are heavily populated with recognizable soul and hip-hop samples, Jlin builds her music from scratch, constructing all the percussion sounds and bass tones herself. Her production style is intense and gripping, but it never sounds cluttered, and it never breaks out into all-out chaos. Tense, thrilling, and a bit frightening, Dark Energy is simply one of the most compelling debut albums of 2015. © Paul Simpson /TiVo
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Birdy Nam Nam

Birdy Nam Nam

Electrónica - Publicado el 24 de octubre de 2005 | Kif music

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Dubnobasswithmyheadman

Underworld

Electrónica - Publicado el 24 de enero de 1994 | UMC (Universal Music Catalogue)

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From the beginning of the first track "Dark & Long," Underworld's focus on production is clear, with songwriting coming in a distant second. The best tracks ("MMM Skyscraper I Love You," "Cowgirl") mesh Hyde's sultry songwriting with Emerson's beat-driven production, an innovative blend of classic acid house, techno, and dub that sounds different from much that preceded it. In a decade awash with stale fusion, Underworld are truly a multi-genre group. © John Bush /TiVo
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Felt Mountain

Goldfrapp

Trip Hop - Publicado el 19 de septiembre de 2000 | Mute, a BMG Company

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Play

Moby

Electrónica - Publicado el 17 de mayo de 1999 | Mute, a BMG Company

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Explorando nuevos territorios, Play refleja el abandono de Moby del impulso vertiginoso de tecno-punk a favor de unas estructuras más relajadas y excitantes afianzadas en un hip-hop con orientaciones dance, un cambio que aporta toda una nueva sensación a la vasta y variada paleta sonora de Moby. Varias canciones, como el sencillo "Honey", se distinguen por la apariencia de una temprana grabación fuera de estudio en EE.UU., donde serpentean toques de espirituales afroamericanos y canciones folk seleccionadas del catálogo de Alan Lomax. La afición de Moby por las composiciones complejas queda patente aquí, ya que capa tras capa de teclados y percusión (más guitarra y voces) se crea un tapiz rico y de profundas texturas. Play demuestra que el sofisticado sentido del collage sonoro de Moby no ha perdido brillo y la combinación de estos amplios experimentos sónicos con muestras históricas exclusivas y ritmos más puros y accesibles ponen de relieve una visión artística en constante evolución. © TiVo
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Tohu Bohu

Rone

Ambientes - Publicado el 15 de octubre de 2012 | InFiné

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Substances

Dj Cam

Trip Hop - Publicado el 1 de octubre de 1996 | Inflamable Records

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Immunity

Jon Hopkins

Electrónica - Publicado el 3 de junio de 2013 | Domino Recording Co

Hi-Res Premios Discoteca Ideal Qobuz - Pitchfork: Best New Music - Hi-Res Audio - Sélection du Mercury Prize
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Best of Electronic Disco (Deluxe Edition)

Giorgio Moroder

Electrónica - Publicado el 20 de mayo de 2013 | Repertoire Records

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Rounds

Four Tet

Electrónica - Publicado el 5 de marzo de 2003 | Domino Recording Co

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The North Borders

Bonobo

Electrónica - Publicado el 22 de marzo de 2013 | Ninja Tune

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The Fat of the Land - Expanded Edition

The Prodigy

Electrónica - Publicado el 1 de julio de 1997 | XL Recordings

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Wireless

Luke Slater

Electrónica - Publicado el 5 de octubre de 1999 | Mute

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Tourist (Remastered Hi-Res Version)

St Germain

Electrónica - Publicado el 30 de mayo de 2000 | Parlophone (France)

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Visions

Grimes

Electrónica - Publicado el 21 de febrero de 2012 | 4AD

Premios Discoteca Ideal Qobuz - Pitchfork: Best New Music - Sélection Les Inrocks - Stereophile: Record To Die For
On Visions, Claire Boucher turns the unmistakable sound she forged on Geidi Primes and Halfaxa, where songs hovered in space one moment and hit the dancefloor in the next, into a blueprint for forward-thinking pop in the 2010s. Though her wispy vocals and four-on-the-floor beats still define her third album, she adds more elements, more ambition, and frequently, more fun to her music; on sparkly tracks like "Eight," where she's shadowed by robotic backing vocals, she sounds like an alien princess. The way she combines and reimagines familiar sounds -- dream pop, synth pop, R&B, and house are just a few of the styles she touches on -- often dazzles. "Genesis" begins with what sounds like the ethereal atmospheres of old-school sounds of her label 4AD before coalescing into irresistibly bouncy pop. Boucher performs a similar trick on the brilliant "Oblivion," which sets lyrics inspired by a sexual assault to deceptively radiant synth pop buoyed by an insistent, instantly recognizable bass line. While Visions' songs are still largely free from obvious structures -- "Symphonia IX (My Wait Is U)" segues into a minor-key passage like a dream turning dark -- Boucher has learned the values of space and control, as the intricate layers within "Infinite Love Without Fulfillment" and "Visiting Statue" attest. And though "Know the Way" and "Skin" spotlight Grimes' flair for ethereal sensuality, Visions' most kinetic songs are the most distinctive, and allow her to draw on many different influences and sounds. "Be a Body" boasts a surprisingly funky bass line; on "Circumambient," the song's shadowy R&B leanings are only heightened when Boucher busts out a super-soprano trill that would do Syreeta or Minnie Riperton proud. When she borrows from '80s pop, it never feels slavish, even when she uses frosty Casios on "Vowels = Space and Time" or lets "Colour of Moonlight (Antiochus)" ride on a beat that sounds borrowed from "When Doves Cry." Instead, these retro winks end up bringing out the darkly rhapsodic, kinetic heart of Boucher's music as much as the Asian-tinged melodies, harps, and operatic samples she uses elsewhere. Though little sounded like it when it was released, the impact of Visions' futuristic fantasies was felt, and heard, for years to come. © TiVo
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Satyricon

Meat Beat Manifesto

Electrónica - Publicado el 1 de enero de 1992 | [PIAS] Recordings Catalogue

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Blue Lines

Massive Attack

Trip Hop - Publicado el 6 de agosto de 1991 | Virgin Catalogue

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The first masterpiece of what was only termed trip-hop much later, Blue Lines filtered American hip-hop through the lens of British club culture, a stylish, nocturnal sense of scene that encompassed music from rare groove to dub to dance. The album balances dark, diva-led club jams along the lines of Soul II Soul with some of the best British rap (vocals and production) heard up to that point, occasionally on the same track. The opener "Safe from Harm" is the best example, with diva vocalist Shara Nelson trading off lines with the group's own monotone (yet effective) rapping. Even more than hip-hop or dance, however, dub is the big touchstone on Blue Lines. Most of the productions aren't quite as earthy as you'd expect, but the influence is palpable in the atmospherics of the songs, like the faraway electric piano on "One Love" (with beautiful vocals from the near-legendary Horace Andy). One track, "Five Man Army," makes the dub inspiration explicit, with a clattering percussion line, moderate reverb on the guitar and drums, and Andy's exquisite falsetto flitting over the chorus. Blue Lines isn't all darkness, either -- "Be Thankful for What You've Got" is quite close to the smooth soul tune conjured by its title, and "Unfinished Sympathy" -- the group's first classic production -- is a tremendously moving fusion of up-tempo hip-hop and dancefloor jam with slow-moving, syrupy strings. Flaunting both their range and their tremendously evocative productions, Massive Attack recorded one of the best dance albums of all time. © John Bush /TiVo