865 albums sorted by Date: from newest to oldest

Alternative & Indie - Released February 16, 2018 | Dead Oceans

Distinctions 4F de Télérama
The first impression is of receiving a phone call from Beyond. " Hello… Elvis ? Is that you?"Or it might be Roy Orbison on the other end. Or, indeed, closer to our times, and still alive, Chris Isaak or Richard Hawley… Marlon Williams is one of that line of singers with a supernatural voice. A timeless crooner switching seamlessly between rock, country, folk and soul, the New Zealander is not content just to write touching lyrics. He rolls them out of that stupefying vocal equipment of his, a voice which alternates between an intimate secret whispered in the ear and a lyrical declaration cried out from a rooftop. Three years on from a gobsmacking first record, Williams has taken things up a notch. And on Nobody Gets What They Want Anymore, he even brings in his ex, the very gifted Aldous Harding, for the length of an otherworldly duet. © Marc Zisman/Qobuz

French Music - Released February 16, 2018 | Vilmamusica

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Alternative & Indie - Released February 9, 2018 | Bella Union

Distinctions 4F de Télérama
He's grown-up like Lou Reed. Androgynous like Bowie. Lyrical like Springsteen. Offbeat like Jonathan Richman. And an exhibitionist like Rufus Wainwright. But this time, for his seventh album, Ezra Furman is, first and foremost, more Ezra Furman than ever before! In a fascinating confessional record, halfway between concept-album and fictional biography, he blurs the contours of his bisexuality and shows himself to be as flamboyant as his idols. Furman decks out his glitzy songs with a cocky, bituminous glam, putting exuberance front-and-centre. That doesn't stop him from also opting for more intimate, stripped-down numbers as well. But if all that is working at 200%, the reason is that Transangelic Exodus is above all a collection of great songs. Behind the impressive decor and the stylistic conjuring tricks, Ezra Furman has brought out one of his most incisive works to date. Full of insights about himself, and on Trump's America, where he is trying to find his place. Fascinated by the pop songs and Jewish tradition, the thirtysomething Chicagoan might just have dropped one of 2018's most powerful rock records...© MZ/Qobuz

Folk - Released February 9, 2018 | Alela Diane

Hi-Res Distinctions 4F de Télérama
In 2007, The Pirates's Gospel wrote its drugged-up folk onto the heart of gospel. Alela Diane brought her staggering voice to this first album. It would be a hit with fans of Cat Power and Karen Dalton… A decade later, the Californian set up in Portland, setting up in a house in the middle of the woods, surely a kind of re-fuelling after the birth of her daughter two years earlier… There, the songwriter set aside her acoustic guitar for a grand piano on which she created the songs on Cusp, the fifth album from a woman who had decided to draw up a balance sheet which was as much personal as it was artistic. Her relationship to femininity but also her eye for maternity (on Song For Sandy, Alela Diane pays homage to Sandy Denny, the goddess of 60s British Folk at the core of Fairport Convention who died at just 31 shortly after becoming a mother) or for her contemporaries (Emigré on the migrant crisis) gives this record a literary density. Musically, her standard melodic sensibility and her stripped-down approach to folk are blended into an unusually-sophisticated instrumentation. It evokes Carole King, Joni Mitchell and the great names of the Laurel Canyon stage. These charismatic influences in no sense overshadow the originality of Alela Diane, who is more than ever fully in command of her art. © MD/Qobuz

Electro - Released February 2, 2018 | Concord Records

Distinctions 4F de Télérama
An androgynous voice reminiscent of Anohni’s of Antony and the Johnsons. A very 80s hushed groove comparable to Everything But The Girl and Sade and an outline worthy of The XX. Rhye’s first album, Woman, released in 2013, came as a real surprise. The improbable LA-based duo, made up of Canadian Mike Milosh and Danish Robin Hannibal, unfolded their R&B with insane sensuality (sexuality?). Five years later, Blood also comes through as a troubling and erotic urban soundtrack. A weightless soul based on the principle of less is more. Unfortunately Hannibal left the project in 2017, leaving Milosh alone aboard this beautiful vessel. As a result, Rhye’s music became more organic, less sophisticated and, in a way, more real. Moreover the falsetto voice of the man in charge is a powerful magnet for the ears. A voice even more beautifully showcased than in Woman, making Blood the apex of refined groove. © MD/Qobuz

Rap - Released February 2, 2018 | CAPITOL

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Ambient - Released January 26, 2018 | Erased Tapes

Hi-Res Distinctions 4F de Télérama
While a whole generation of musicians seems to have adapted to nomadic composition, often between two dates in a plane or in a tour bus, there still are some that like the quality of studio production. Whatever the most-seasoned chamber producers may say, the surroundings are a major factor in the success of a recording (ask Ben Frost or Midori Takada). When other people release maxi CDs every two months, Nils Frahm, German virtuoso of the electric (or sometimes not) piano, took two years to imagine and build his “dream studio”. He put it in a place steeped in history, the Funkhaus Berlin, former headquarters of the East German public broadcasting that was transformed into a studio and concert hall facility. Nils Frahm has thus taken residence in Saal 3 to patiently build a pipe organ that you’ll hear emerging from the first tracks of the disc, like this profession of faith The Whole Universe Wants to Be Touched. With this seventh album which, track after track, makes us dive once again with delight into his oneiric—and almost subaquatic—world, the German pursues his quest for perfection, which he knows to be unreachable. “The music I hear inside me will never end up on a record, as it seems I can only play it for myself. This record includes what I think sticks out and describes my recent musical discoveries in the best possible way I could imagine.” We certainly want him to keep trying…© Smaël Bouaici/Qobuz

Jazz - Released January 26, 2018 | ACT Music

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Classical - Released January 26, 2018 | La Dolce Volta

Hi-Res Booklet Distinctions 4F de Télérama
Two years after its very well received recording of three Schumann quartets, Quatuor Hermès – created about ten years ago – is turning its attention to three staple French masterpieces: Ravel and Debussy’s quartets (two iconic figures of their − relatively young − generation who have been coupled on disc again and again, but who would complain?) surrounding Dutilleux’s quartet Ainsi la nuit (Thus the Night). Three very unique quartets, as each of their composers only wrote a single one. For the record, Debussy’s quartet still belongs to the 19th century as it was composed in 1893 in a language formally borrowing from Franck (even if the chord progressions already feel like classic Debussy), while Ravel’s inaugurates the 20th century in 1903 with Faurean notes in abundance… On the other hand, Dutilleux waited to achieve maturity (1976) to write his. An inescapable monument of 20th French chamber repertoire, played with finesse and transparency by Quatuor Hermès, cementing their place among the elite quartets of our time. © SM/Qobuz

Folk - Released January 19, 2018 | Columbia

Hi-Res Distinctions 4F de Télérama
When they released The Big Black and the Blue in 2010, Johanna and Klara Söderberg were 20 and 23 years old respectively. The two Swedish sisters quickly made a name for themselves at the top of the charts thanks to their covers of songs by Fleet Foxes, Lorde, Jack White and even Black Sabbath… Though throughout it all, First Aid Kit imposed their own style. A sort of dreamy folk that was as fresh as it was mesmerizing, at the heart of which shimmered vocal harmonies… For their fourth album, the Söderbergs flew off to the West Coast of the United States. Written in California (Los Angeles) and recorded in Oregon (Portland), Ruins is without a doubt  their most beautiful achievement. It’s the strongest tie between their native Sweden and the America of their dreams. Produced by the wonderful Tucker Martine, an expert in classy country, this is a record that above all draws its inspiration from America's rich heritage (from the Gram Parsons/Emmylou Harris period to the recent Fleet Foxes) while staying true to its authors. Sparkling arrangements, smooth rhythmics, intense vocal harmonies and notable guests (Peter Buck from R.E.M., Glenn Kotche from Wilco and McKenzie Smith from Midlake), everything’s there to make their folk-rock even more luxurious than on The Lion's Roar (2012) and Stay Gold (2014). It’s almost impossible not to role out the old cliché: an album of maturity. © MD/Qobuz

Flamenco - Released January 12, 2018 | Buda musique

Distinctions 4F de Télérama

Alternative & Indie - Released January 12, 2018 | Dead Oceans

Hi-Res Distinctions 4F de Télérama - Qobuzissime
As intense as an XS G-string stretched around an XL derrière, Shame isn’t here to joke around. The concentrated post-punk that is at the heart of this debut album from the London quintet stands out through its charisma, violence and originality. Songs Of Praise even sounds like the soundtrack to a really grey, frustrated England. There’s a lot of The Fall, Gang Of Four and Killing Joke in this sonic bundle of nerves, but it never sounds retro or backwards. Like Fat White Family, Ought or even Vietnam, Shame belongs in 2018 and you can definitely hear it! Straight from Brixton, singer Charlie Steen, guitarists Sean Coyle-Smith and Eddie Green, drummer Charlie Forbes and bass player Josh Finerty produce and cage their seemingly visceral irritation on punchy songs (Dust On Trial) that are sometimes poisonous and throbbing (The Lick) but at other points more genial (One Rizla). Here, Shame play brazen, uncompromising and unapologetic rock. Just one listen to Songs Of Praise and your body will come out bruised, yet you will keep asking for more. © MZ/Qobuz

Classical - Released December 8, 2017 | naïve classique

Hi-Res Booklet Distinctions 4F de Télérama

Pop/Rock - Released December 8, 2017 | Nonesuch

Hi-Res Booklet Distinctions 4F de Télérama
When he doesn’t head Nickel Creek (an Americana trio) or the Punch Brothers (experts in chamber bluegrass) Chris Thile works with colleagues as diverse as cellist Yo-Yo Ma (The Goat Rodeo Sessions in 2011) or jazz pianist Brad Mehldau (Chris Thile & Brad Mehldau in 2017). Even better, the Californian mandolinist regularly releases solo albums that couldn’t be more eclectic. This is evidenced by his Thanks For Listening, whose starting point was none other than A Prairie Home Companion, a weekly radio show which he has been hosting since October 2016 and for which he composes the song of the week each week. These songs of the week evoke the news as well as the spirit of the times, social issues as well as everything that crosses the mind of the virtuoso musician whose ears are always wide open. For this disc, Thile has selected among them ten songs that he has re-recorded in studio. Between chamber rock and stripped-down folk, sophisticated Americana and dreamy pop, he unfolds his timeless melodies and his stringent, or even caustic, prose. © CM/Qobuz

Rock - Released December 1, 2017 | Rhino - Warner Bros.

Hi-Res Distinctions 4F de Télérama - The Qobuz Ideal Discography - Best New Reissue
After a magical first work of fairly rough alternative country (A.M.) that was conceived at the time of the turbulent separation of his group Uncle Tupelo, Jeff Tweedy took his time to release a second album with Wilco. Already, the work was ambitious as it was a double album. Blending all their musical similarities, this was an album that from the moment it was released in October 1996 led quite a few journalists to write that Tweedy had signed his own Exile On Main Street. Much like the Rolling Stones’ masterpiece, eclecticism is the crucial ingredient to this mix of basic rock’n’roll, bluegrass, country rock, psychedelia, folk and soul. With loose guitars, pedal steel, brass and unlimited instrumentals, Wilco weaves here an impressive web between the Rolling Stones from their golden age, The Replacements, The Beatles and Big Star from the album Third. Alternating between ballads and electronic soundstorms, Tweedy demonstrates above all else that with a timeless and classical base, he is taking the lead with his grandiose songs and the stunning architecture of his compositions… This remastered Deluxe Edition offers, as well as the original album, fifteen unpublished bonus tracks notably including alternative versions of I Got You and Say You Miss Me alongside a live recording from 12th November 1996 in Troubadour, Los Angeles and a session for the radio station Santa Monica KCRW taken the next day. © MZ/Qobuz