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Choral Music (Choirs) - Released March 27, 2020 | NoMadMusic

Hi-Res Booklet Distinctions 5 de Diapason - 3F de Télérama - 5 étoiles de Classica
“Jardin féérique”, the Métaboles’ second album with NoMadMusic, is a true ode to nature. Infinite source of inspiration, it becomes an enchanted forest with Ravel, is the symbolical reflection of the soul’s tremors with Saint-Saëns, while Britten, in his Hymn to Saint Cecilia – patron of musicians – pays homage to the muse walking through a shady garden. Britten’s Flower Songs create a unique cycle like a musical herbarium… The figurative music of Murray Schafer (Miniwanka) – engaged composer and ecology-lover – develops the concept of a musical landscape: a fascinating conjunction of vocal gestures, percussion, onomatopeia, evocation of rituals which reveal the metaphysical dimension of the link between Nature and Mankind. © Nomadmusic
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Solo Piano - Released August 23, 2019 | Sony Classical

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We asked for this as much as we cautiously anticipated its arrival… Anxious to ensure the return of the pianist, Sony Classical – goodbye Deutsch Grammophon – rolled out the red carpet for Ivo Pogorelich. Recorded in Schloss Elmau and the Raiding Concert Hall (Beethoven in the former and Rachmaninoff in the latter) this new album delivers a wide sound of measured reverberation and embraces Pogorelich’s rough playing style as well as some of his more tender nuances. Like an iron hand in a velvet glove. Ivo Pogorelich is not playing around. For Rachmaninoff, he has chosen the second Sonata in B flat minor, op. 36 in its original, full-length version in which numerous sections disorientate the listener as they lose themselves on a hallucinogenic journey with the musician. Pogorelich progressively eases us in and wins us over by beginning with two, rarely recorded but known, Beethoven works: his sonatas no.22 in F major, op.54 and no.24 en F sharp major, op.78. The chosen listing is intelligent (with two major figures), ambitious (with its demanding score), and generous (for reasons mentioned above). It would seem we’re in familiar territory, yet nothing is less certain when Pogorelich seems to literally grab the scores by their reigns and breathe into them a sense of puissant heroism. Nevertheless, Pogorelich remains an expressive musician, scrutinising the texts with as much malice as severity despite some slower tempos. It’s as if the listing is backlit by his own personal vision for the works. © Elsa Siffert/Qobuz
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Theatre Music - Released August 10, 2018 | PentaTone

Hi-Res Booklet Distinctions 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice
Composed by Stravinsky in 1933 in the wake of the French oratorio fashion whose figureheads are Milhaud (Les Choéphores) and Honegger (Le Roi David, Jeanne d’Arc au bûcher), and his own Oedipus Rex, Perséphone sanctifies the French period of the Russian composer, after he left Switzerland and before he settled definitely in the United States. Ordered by Ida Rubinstein, to whom music history already owed Debussy’s Martyre de Saint-Sébastien and Ravel’s Boléro, this melodrama, profane in its story and hybrid regarding its musical form, glorifies spring -without it being a new “Consecration” in its language) on a text by André Gide, thus prolonging the emotion created by the novel Si le grain ne meurt. The three acts of the work (Perséphone enlevée, Perséphone aux enfers, Perséphone renaissante) are close to human nature and psyche with an empathy reinforced by Stravinsky’s music. Conceived for a tenor (Eumolpe), a narrator, a mixed chorus, a chidren’s chorus and an orchestra, this work, so original in the production of its author, has however never found its audience. People long blamed Stravinsky for wringing the neck of the prosody of Gide’s text without understanding that it was however one of its more sensitive works, possessed with a melodic verve, a clear lyricism and a warmth for which he wasn’t known for. Under Esa-Pekka Salonen’s inspired and aerial baton, Perséphone finds here a second youth which might finally allow it to impose itself to a new generation of music lovers. This “strange profane mass” (as described by Marcel Marnat) is probably one of the most touching works of a composer that is always looking for new springs. © François Hudry/Qobuz
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Full Operas - Released May 11, 2018 | Ediciones Singulares

Hi-Res Booklet Distinctions 5 de Diapason - 3F de Télérama - Gramophone Editor's Choice - Choc de Classica
We'll admit: this Reine de Chypre by Fromental Halévy is probably not the unfairly-overlooked work of commanding genius for which the lyrical world has been waiting for fifty years… But it would still be a shame to miss it, especially when performed by such a line-up, with Véronique Gens, Cyrille Dubois and Etienne Dupuis at the top of the bill. And after all, the score is full of vocal marvels and very original ensembles; but it is rather in the orchestration – which is not much more adventurous than that of any other piece of Italian bel canto of the era – that Halévy has taken it easy. The melodic richness was pointed out in an article in the Revue et gazette musicale in April 1842: "In the Reine de Chypre, Halévy's new style is on display with more dash, and more success. I have had occasion to point out the preconditions, as I see them, of the production of a good opera, by pointing out the obstacles which stand in the way of meeting these conditions fully and in good time, whether by the poet or the composer. When these conditions are met, it is an event of great importance for the world of art. Now, in the present case, circumstances have conspired in the performance of a work which, as even the most exacting critic must admit, possesses all the qualities which constitute a good opera. (…) The composer has put all the enchantment of his art into the duet that breathes the sentiments that enrapture them. The dark cloth on which these two charming figures are drawn shows through even in those songs which are so sparkling and alive with happiness, like a sinister cloud, and lends them a particular character of melancholy intrigue. There is no equal, in nobility or in grace, of the magnificent melody of the final part of this duet." The article continues in this vein. The byline? One Richard Wagner… © SM/Qobuz
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Jazz - Released May 4, 2018 | NoMadMusic

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Jazz - Released January 19, 2018 | ECM

Hi-Res Booklet Distinctions 3F de Télérama - Choc de Classica - 5 Sterne Fono Forum Jazz
Like every great instrument blower, John Surman has a sound you’ll recognize from the first breath. A sound which is as much fed by the culture of his British motherland (local folklore is one of the components of his music) as by the culture from other countries. The saxophonist and clarinetist has crossed paths with pianist Nelson Ayres—well-known by the fans of Brazilian jazz for his work with Airto Moreira and Milton Nascimento—during a tour in South America. And it’s in Oslo that he met the American vibraphonist Rob Waring, an expat in Scandinavia… With Invisible Threads, the three men gathered to perform a programme mostly composed of Surman’s original pieces, recorded in Oslo in July 2017, under the artistic supervision of Mr. ECM, Manfred Eicher. This program is like an ode to melodies that transcend dialects. Once again, John Surman unfolds very singular and beautiful narrations, parcels of internal joys that are almost melancholic, at the heart of which the improvisations are drunk like divine elixirs. This jazz is of course different. And as the saxophonist has been a resident at ECM for decades, he’s also one of the components of the sound of the label from Munich, now more than ever. © MD/Qobuz
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Vocal Jazz - Released June 24, 2016 | Blue Note Records

Hi-Res Distinctions 3F de Télérama
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Contemporary Jazz - Released May 27, 2016 | Abalone Productions

Hi-Res Booklet Distinctions 3F de Télérama - Elu par Citizen Jazz - CHOC de JAZZmagazine-jazzman
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Duets - Released May 10, 2016 | NoMadMusic

Hi-Res Distinctions 3F de Télérama - Le Choix de France Musique
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Jazz - Released December 11, 2015 | ECM

Hi-Res Booklet Distinctions 3F de Télérama
"Cultures caress rather than clash here, thanks mostly to the centralizing force of Brahem's fluid and sensitive touch on his instrument..." © TiVo
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Classical - Released August 25, 2015 | Passacaille

Booklet Distinctions 3F de Télérama
« Her performance has commitment, clarity and a Leonhardt-like care over note placement. » (Lindsay Kemp, Gramophone Magazine, april 2016)  
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Pop - Released June 10, 2015 | INA Mémoire vive

Booklet Distinctions Diapason d'or - 4 étoiles du Monde de la Musique - 3F de Télérama
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Chamber Music - Released February 23, 2014 | Arion

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French Music - Released February 22, 2014 | JPB Production

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Pop/Rock - Released December 2, 2013 | Le Chant du Monde

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World - Released December 2, 2013 | Le Chant du Monde

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Rock - Released October 1, 2013 | Mute

Distinctions 3F de Télérama - 4 étoiles Rock and Folk - Sélection Les Inrocks
When Grinderman released their debut in 2007, Nick Cave, Warren Ellis, Jim Sclavunos, and Martyn Casey created a reckless, drunken animal of an alter ego to the Bad Seeds. The album bridged territory mined by everyone from the Stooges to Suicide to Bo Diddley. Again recorded in the company of producer Nick Launay, Grinderman 2 is a more polished and studied affair than its predecessor, but it's a more sonically adventurous, white-hot rock & roll record. The opening, "Mickey Mouse and the Goodbye Man," comes closest to the songs on the previous album, but feels like it comes by way of Patti Smith's "Radio Ethiopia," Howlin' Wolf, and the Scientists. It's pure scummy, sleazy, in-the-red dissonant rock. The swampy, ribald blues of "Kitchenette," features Casey's bass roiling around distorted, Echoplexed electric guitar, electric bouzouki, and jungle-like tom-toms and kick drums. Cave does his best lecher-in-heat blues howl -- if Charles Bukowski had sung the blues, this is what it would have sounded like. "Worm Tamer" is a thundering, interlocked coil of triple-note vamps on electric guitar and violin; there's an organ that sounds like Sun Ra playing in a burlesque theater, and an elastic groove in the rhythm section that threatens to take the entire thing off the rails, but purposely never does. While the controlled feedback suggests the earliest sounds of the Bad Seeds live, the layered harmony vocals and tautly held tension between rhythm and lead instruments -- all on stun -- reveal a disciplined sophistication. The single "Heathen Child," with its darkly comedic lyrics built from the slithering, funky rhythm-section-down mix, is as infectiously hooky as it is blasphemous; Ellis' careening bouzouki here is among the more delightfully threatening rock sounds to emerge from a stringed instrument in ages. Grinderman can do a slow burn as well, evidenced by "When My Baby Comes," as Cave's theatrically bawdy lyrics are delivered over the ensemble's space rock drone. Nothing really prepares the listener for "Bellringer Blues," though. It sounds akin to Loop, Spiritualized, and Ash Ra meeting careening 21st century garage rock, as distortedm backmasked loops of guitar, organ and drums drive spooky chanted vocals thatchurn, rumble and crack in response. With its expansive textural and atmospheric palette, and deliberately studied dynamic bombast, Grinderman 2 still contains an overdose of rock and roll adrenaline and is drenched in comic sleaze, but it also sounds like a new, more experimental direction for the band more than it does a continuation of its predecessor. © Thom Jurek /TiVo
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French Music - Released May 27, 2013 | Wagram Music - Cinq 7

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Jazz - Released April 29, 2013 | Jazz Village

Hi-Res Booklet Distinctions 3F de Télérama - Sélection FIP - The Qobuz Ideal Discography - Le top 6 JAZZ NEWS - The Qobuz Standard - Hi-Res Audio
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Alternative & Indie - Released April 15, 2013 | 4AD

Distinctions 3F de Télérama - 5/6 de Magic
After expanding his intimate indie folk sound about as far as it could go on the last Iron & Wine album, Kiss Each Other Clean, Sam Beam (and trusty producer Brian Deck) take a step back on Ghost on Ghost and deliver something less suited for large arenas and more late-night jazz club-sized. The arrangements on that album were stuffed with instruments and seemed built to reach the back row; this time there are still plenty of horns, violins, and female backing vocals in the mix, but they are employed with a much lighter touch. Working with jazz drummer Brian Blade and a standup bass and mixing together elements of country, jazz, indie rock, and soft rock, the album has a much more intimate feel that suits Beam's quietly soulful vocals much more naturally. It's still very slick and pro-sounding, but not to the point of distraction. It sounds like the work of two highly skilled craftsmen making the kind of album they should make, instead of guys trying to make something relevant and "big." Beam's songs this time are more diverse than usual; he delivers the kind of songs an Iron & Wine follower would expect, nocturnal and hushed confessionals (the echoing "Joy," "Winter Prayers") and cinematic ballads ("Baby Center Stage") that sound like they would have fit in well on the last couple albums. Balancing these against gritty and intense songs that seethe with barely controlled drama and emotion ("Grass Widows," "Lover's Revolution") and a couple almost happy-sounding uptempo tracks (like the rambling, very Belle & Sebastian-influenced "Grace for Saints and Ramblers") shows that Beam is really expanding the kind of songs he is writing and doing it with a large degree of success. Anyone who has been with I&W since the beginning might find it hard to believe they would ever record a song as lightly soulful and sweet as the almost jaunty "The Desert Babbler" or as easy on the ears as "New Mexico's No Breeze," which sounds like a dusty indie pop take on Seals & Crofts, or as musically complex as the very hooky "Caught in the Briars." Bringing the scale back down to something human while injecting some jazz and sunshine into the I&W sound proves to be a very good strategy for Beam, and it makes Ghost on Ghost one of the most satisfying albums the group has done to date. © Tim Sendra /TiVo