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Thanks to the hard work carried out in cooperation with recording studios as well as an increasing number of music labels (Plus Loin Music, Bee Jazz, Ambronay Editions, Zig Zag Territoires, ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, etc.), Qobuz now offers a rapidly-growing selection of new releases and back catalogue records in 24-bit HD quality. These albums reproduce exactly the sound from the studio recording, and offer a more comfortable listening experience that exceeds the sound quality of a CD (typically \"reduced\" for mastering at 44.1kHz/16-bit). \"Qobuz HD\" files are DRM-free and are 100% compatible with both Mac and PC. Moving away from the MP3-focused approach that has evolved over recent years at the expense of sound quality, Qobuz provides the sound calibre expected by all music lovers, allowing them to enjoy both the convenience and quality of online music.

Note 24-bit HD albums sold by Qobuz are created by our labels directly. They are not re-encoded using SACD and we guarantee their direct source. In order to continue on this path, we prohibit any tampering with the product.

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Alternative & Indie - Released June 26, 2020 | Infectious Music

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In 2017, Holiday Destination brought Nadine Shah out from the underground, revealing an intriguing love child of PJ Harvey and Siouxsie and Anna Calvi. With that third album, the Londoner who was born to a Norwegian mother and a Pakistani father tightened the bolts of an indie rock that she delivered in a rather tense, borderline post-punk way, with angular basses, nervous but minimalist guitars and an almost free saxophone. Three years later, Shah has made her sound even more original with her heavy influences, notably thanks to her unique voice which has become deeper and deeper, hitting you from the very first minutes of Club Cougar, the brilliant opening track that sets the tone for the record. Even in her lyrics, the British singer stands out from her peers in her scathing introspection of the 30-year-old woman that she is, mocking societal pressures and sexism. Like on Ladies for Babies (Goats for Love) where she openly responds to the 90s Ace of Base hit, All That She Wants. Kitchen Sink is also more daring than its predecessors in its instrumental choices, less rock'n'roll and more atypical, especially in its impressive use of percussion which really spices up this beautiful album. © Marc Zisman/Qobuz
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Rock - Released June 19, 2020 | Columbia

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music
Immediately contradicting the album's title, opener "I Contain Multitudes" finds Dylan doing his best Leonard Cohen: the lion in winter, growling with deceptively gentle gravitas over cinematic guitar—paying tribute to William Blake, Anne Frank, Indiana Jones and "them British bad boys the Rolling Stones." If it were to be the 79-year-old's last stand, it's a pretty damn great one. But he immediately springs to spirited life with "False Prophet," a no-frills dirty blues march. There are so many highlights: "My Own Version of You" is a laugh-out-loud "Frankenstein" tale set to a shadowy guitar prowl; the swooning "I've Made Up My Mind to Give Myself to You" borrows from doo-wop balladry. "I hope the gods go easy with me," Dylan croons on that track, and it's hard to shake the feeling that he's taking stock. But there's still so much to say. "Key West (Philosopher's Pilot)" finds the elder statesman chasing immortality along Route 1 for nine-and-a-half fully entertaining minutes, while closer "Murder Most Foul" stretches out for nearly 17, reliving the Kennedy assassination and incanting a phone book's worth of cultural-imprint references without wasting a second. © Shelly Ridenour/Qobuz
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Alternative & Indie - Released April 24, 2020 | Play It Again Sam

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The fourth full-length effort from the Oklahoma-based indie rockers, For Their Love finds Other Lives in fine form, applying their moody sonic expertise to a spectral ten-song set that parses themes of self-worth and existential dread in an age of political, social, and economic turmoil. Commencing with the ruminative "Sound of Violence," a sumptuous bit of '60s-leaning orchestral pop that evokes the Wally Stott string arrangements of "Montague Terrace"-era Scott Walker, For Their Love was self-produced in Oregon's Cooper Mountain region in frontman Jesse Tabish's A-framed cabin, and the material mostly reflects that pastoral setting. The group's love for sharp Morricone-worthy guitar stabs and ascending choral vocals is evident throughout, with the sinister "Nites Out," a churning sea of orchestral bombast worthy of a 007 action set-piece providing the biggest bang for the buck. The plaintive "Dead Language," with its high and lonesome harmonica and fluttery piano, filters the group's widescreen vision through more of a portrait lens, but it retains its predecessor's classicist '60s cinema vibe, as does the more sprightly title track, which incorporates bursts of loungey bossa nova into its distinct, anglophile-kissed brand of chamber-Americana. For all of its adherence to in-the-moment takes and attempts to dial back some of the studio chicaneries of earlier outings, For Their Love is still almost alarmingly ornate -- some of that might have to do with the omnipresent cathedral-like reverb -- but much like 2015's similarly outstanding (and elaborate) Rituals, there's really never a dull moment. © James Christopher Monger /TiVo
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Alternative & Indie - Released April 24, 2020 | Fire Records

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Alternative & Indie - Released April 17, 2020 | Cooking Vinyl Limited

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Alternative & Indie - Released April 17, 2020 | Anti - Epitaph

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Alternative & Indie - Released April 10, 2020 | Drag City

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A dramatic departure from her soul-searching experimental indie folk project Circuit des Yeux, Haley Fohr concocts a hazy, diamond-studded outlaw fantasy with her fictional alter ego Jackie Lynn. Continuing the story from Lynn's 2016 debut, Jacqueline is the travelogue of the co-conspirator of a multi-million-dollar cocaine business, on the run after making a hasty retreat from Chicago. Accompanied by all three members of Bitchin Bajas (Cooper Crain, Rob Frye, and Dan Quinlivan), Jacqueline shifts from the Krautrock-influenced synth pop of Jackie Lynn to more of a space disco sound, with opener "Casino Queen" sporting a strutting beat and playful sequencer blips. "Shugar Water" is closer to a glam rock shuffle, providing a gleeful soundtrack to a cross-country escape. Adding new dimensions to the Jackie Lynn sound, songs such as the cosmic country of "Dream St." feature lush string arrangements by Julie Pomerleau and Bobby Conn, while the more mystical "Short Black Dress" has celebratory horns and brain-twisting reversed guitars. Having more fun with vocal manipulations and audacious delay effects, the epic, hypnotic "Odessa" resembles a discofied Silver Apples. The shimmering, vocoder-laced "Diamond Glue" unexpectedly dips into late-night electro-funk, and while it isn't one of the album's hookiest songs, it's one of its most immersive grooves. While undoubtedly more developed and ambitious than the first Jackie Lynn record, Jacqueline still sounds like the work of an experimental side project, but it's clear that Fohr and her friends are having an awful lot of fun with this, and it's easy to get swept up in their immersive dream world. © Paul Simpson /TiVo
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Alternative & Indie - Released March 27, 2020 | Merge Records

Hi-Res Distinctions 4F de Télérama
Following the defiant alt-rock of her John Agnello-produced fourth album, Out in the Storm, Katie Crutchfield makes another adjustment to the course of her one-time bedroom project Waxahatchee with the warmer, more contemplative Saint Cloud. Shedding distortion in favor of a more easygoing, country-rock sensibility, the album's backing band is perhaps the best indicator of its sound; joining her throughout are Bonny Doon's Bill Lennox and Bobby Colombo, Bonny Light Horseman's Josh Kaufman, and Elvis Perkins in Dearland's Nick Kinsey. Saint Cloud's cover art underscores the approach with a photo of Crutchfield striking a pose on a pickup truck. Per press surrounding the album, the songs were written after and largely inspired by the songwriter's decision to get sober. A native of Alabama, her relaxed vocal twang is most pronounced on tracks including the slow, lilting "Ruby Falls" and the jauntier "Can't Do Much." Elsewhere, "Lilacs" straddles urgency and relaxed composure with ambling guitar jangle and lyrics about letting go of bad behavior patterns. Hints of Dylan can be detected throughout the album but are more prominent on "Hell" and, to a lesser degree, the chorus of "War," an uptempo entry that assures "I'm in a war with myself/It's got nothing to do with you." While alternating between regretful slower tracks, midtempo drawls, and livelier, foot-tapping fare, the album never moves off dirt roads and adjacent orchards, and proves to be her most carefree-sounding effort to date. That's despite doggedly self-examining lyrics that keep Saint Cloud squarely in the realm of prior releases from an artist who continues to ward off complacency. © Marcy Donelson /TiVo
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Punk / New Wave - Released March 13, 2020 | Council Records

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Pop/Rock - Released February 28, 2020 | Khanti records

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Metal - Released February 28, 2020 | Season of Mist

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Alternative & Indie - Released January 31, 2020 | Dead Oceans

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music
The most astonishing thing about this thirteenth album from Destroyer is its transformation. Strangely, from the first few notes of Crimson Tide, it seems to evoke Suicide Demo For Kara Walker from Kaputt, and even The Laziest River that appears on its vinyl version. There are drawn out notes, luminous progressions and synths which are more pop than ambient. Unsurprising as production was done by John Collins, bassist and member of The New Pornographers who worked on and added elements to the project like a collage after receiving the demos from Dan Bejar (the man behind Destroyer had originally only used GarageBand). The saxophone from Kaputt thus makes a comeback. The band’s pop ambitions may reach their pinnacle with the metallic decadence of Cue Synthesizer, the 1980s-style ballad The Man in Black’s Blues or the kitsch piano of The Raven, but the post-punk melancholy, characteristic of the Canadian musician is apparent on the rest of the tracks. His nasal voice is always present, its poetic prose seeming to scorn a wasted world, accompanying intimate and nebulous melodies which are filled with flowing layers (The Television Music Supervisor, Foolssong). You could think that it may become tiring, but Dan Bejar’s talent is such that he manages to refresh the opus while remaining true to himself. Beautiful. © Charlotte Saintoin/Qobuz
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Pop - Released January 17, 2020 | Elefant Records

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A talented songwriter, the American pop/soul singer (who relocated to the UK) A Girl Called Eddy aka Erin Moran made waves back in 2004 with her eponymous album produced by Richard Hawley. In 2018, she graced the studio once more, as The Last Detail, a project she formed with the marvellous musician and artist Mehdi Zannad. It’s only in 2020, sixteen years later, that she is releasing her second solo project Been Around. This (very) prolonged absence is referred to from the first song, as a mysterious voice asks: “Girl, where you been?” “I’ve always been a huge fan of Burt Bacharach”: this testament by Erin Moran is one of the first points of reference of an album where the melodic sophistication and harmonic complexity indeed remind the listener of the golden years of the legendary composer (The Look of Love and Walk On By). The complex melody of Charity Shop Window and the lyrics of Someone Gonna Break Your Heart resound like postmodern echos of the hits of the composer and his lyricist Hal David. There are some more clear Bacharach influences, like the orchestration which is simultaneously original but also suave, able to get even the most uptight listeners moving. In this vein, some highlights include the vocal harmonies of Big Mouth, the harmonica solo in Been Around and the fantastic piano/guitar/harpsichord combo of Finest Actor. There tends to be a constant underlying coat of placid and discreet strings, that never dare to swagger (Pale Blue Moon). Admittedly, the homage occasionally skirts parody in some cases, but overall the project remains magical thanks to the enchanting voice of the girl called Eddy. Paul McCartney appears to be the other great idol of the songstress, as certain melodic inflections point out in the chorus of Lucy Jack or of Two Hearts. The influences are plain for all to see on Been Around, but they dance around the listener’s ears with subtlety over the course of this album which dives right into the heart of the 1960s and 70s. © Nicolas Magenham/Qobuz
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Alternative & Indie - Released December 6, 2019 | Mute

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Pop - Released October 25, 2019 | Sanctuary Records

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When The Kinks Are The Village Green Preservation Society was released in November 1968, the Davies brothers unveiled an album that was out of time. It was a pop masterpiece that was steeped in nostalgia for an Olde England and some thought it was almost backward-looking, though today it is considered one of the most influential records of its time. What’s more, it proved that there’s more to life than just Lennon/McCartney and Jagger/Richards! Following that spectacular record, their fans were wondering what could possibly come next. The idea didn’t come from either of the brother’s creative brains but in fact from the producers of Granada Television who commissioned them for… a rock opera! The plot takes place in post-war England and revolves around Arthur, a carpet-layer who emigrates with his family to Australia as he struggles to find his place in the world. The story was inspired by the Davies brothers’ older sister Rose who moved down under in 1964 with her husband Arthur. Her move left a mark on Ray, who later composed Rosie Won’t You Please Come Home in 1966 for the album Face to Face. In any case, it provided more than enough material for the English songwriter to produce these deliciously crazy and ironic songs. In the end, the film was never shot and so Arthur was released in October 1969 with no visual aid.Almost as brilliant and nostalgic as , the record’s instrumental richness, skillful songwriting and intelligent compositions went to prove once again that The Kinks were just as creative as The Beatles and The Rolling Stones. On Shangri-La, one of their most impressive compositions, the Davies brothers mix pop, rock and blues. Dave’s guitar playing is particularly impressive, revealing both thick riffs (Brainwashed) and intricate ballads (Young and Innocent Days). Unfortunately, the public didn’t exactly lap up the unusual, daring songs of this baroque farandole, instead opting for The Who’s Tommy. Though fortunately, time has been kind to Arthur and today the record is considered a genuine masterpiece. © Marc Zisman/Qobuz
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Metal - Released October 25, 2019 | Season of Mist

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Cosmicism is the fourth album from the French, H.P. Lovecraft-inspired post-black metal outfit the Great Old Ones. Utilizing Lovecraft's philosophy of Cosmicism (humans are insignificant in the grand scheme of the cosmos) as an influence, the group balance their Lovecraftian storytelling with a display of doom-riddled black metal. © Rich Wilson /TiVo
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Metal - Released October 25, 2019 | (RED) Southern Lord

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Alternative & Indie - Released October 11, 2019 | 4AD

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music
Less than six months after releasing their highly acclaimed third album, U.F.O.F., the Brooklyn indie-folk band Big Thief returns with Two Hands. While its Irish twin sounds incredibly controlled and labored over, the majority of Two Hands are one-take recordings (tracked live in the middle of a Texas desert) with no overdubs, capturing the arresting beauty of their live performances. Lead single "Not" is the loudest and most intense Big Thief song to date. Frontwoman Adrianne Lenker’s croon is pushed to a panting rasp during the track’s teetering climax, and its second half is overtaken by a gangly, drawn-out guitar solo gracelessly deconstructing into ringing noise. However, despite the crashing drum fill that kicks off the record, "Not"’s striking diversion from their signature serenity is the album’s only moment of its kind. The main difference is that here, Big Thief sound looser and less concerned with painstaking prettiness. Instead, they let the tape roll and see what happens. Perhaps the most commendable aspect is that even without the benefit of studio wizardry, this band can still make magic happen. © Eli Enis / Qobuz
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Pop - Released September 20, 2019 | Columbia

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music - Qobuzissime
Everyone likes a bit of soul and old-school funk! Successors to Curtis Mayfield, Al Green, Prince, Sly Stone et al are born every day. But more often than not, interest in the genre is lacking… In only two albums, the band Alabama Shakes have displayed an original and torrid take on southern garage funk. Their secret ingredient? Brittany Howard, the band’s singer of enormous character and gravitas. Such a sense of charisma is all-the-more present in this shock debut solo album. The record holds onto some of Alabama Shakes’ merits but also delivers a more atypical, less conventional feeling. Howard makes our heads spin with this psychedelic and trippy funk record that verges on the experimental with tracks such as the opening History Repeats with lively guitars, stumbling rhythms and chaotic vocals. The Athens native is joined by limited backing musicians that compose of Zac Cockrell, the bassist for Alabama Shakes, and two prevalent, unique jazzmen, Robert Glasper on piano and keys and Nate Smith on drums. On top of this rich yet minimalist backdrop, Howard weaves in a study of both herself and her contemporaries. Everything is here! Homosexuality (Georgia), death (the album’s title, Jaime, is the name of her older sister who was lost to cancer at the age of 13 when Howard was only 8), religion (He Loves Me) and the racism that she, the daughter of a white mother and black father, has often encountered (Goat Head relates to the morning when her mother found all four tires of her car slashed and the severed head of a goat on the garden bench). You will be left shaken after listening to this exciting and very personal record. Howard’s values, references and influences (Prince, Curtis and Sly) are clearly heard – or so it seems – but the end result is one of great originality. © Marc Zisman/Qobuz
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Ma

Alternative & Indie - Released September 13, 2019 | Nonesuch

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The tenth studio album from Devendra Banhart is a poetic paradox; joy and pain, light and dark, both metaphysical but grounded. All these contradictions come together and result in an album somewhere between the light-heartedness of Kings Of Convenience and the doom and gloom of The Velvet Underground. As usual, the Venezuelan-American has mastered a wide range of styles (bossa-nova, soft rock, chamber folk, dream pop) and shows off his linguistic abilities (singing in english and spanish) in dream-like musings of motherhood, death, friendship and the meaning of life. He has swapped the minimalism of his previous album Ape in Pink Marble (2016) for a more sophisticated style, notably in the duet with the great Vashti Bunyan in Will I See You Tonight. The coming together of this folk matriarch with her spiritual son is what makes the title of the album so meaningful; Ma not only reveals the talented crooner’s most intimate musings but is an elegant and graceful celebration of filial love. © Alexis Renaudat/Qobuz