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Musica alternativa e indie - Uscito il 09 settembre 2013 | Domino Recording Co

Hi-Res Riconoscimenti 4F de Télérama - HD Audio - Sélection du Mercury Prize
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Elettronica - Uscito il 03 giugno 2013 | Domino Recording Co

Hi-Res Riconoscimenti La discoteca ideale Qobuz - Pitchfork: Best New Music - HD Audio - Sélection du Mercury Prize
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Elettronica - Uscito il 03 giugno 2013 | Universal-Island Records Ltd.

Riconoscimenti Pitchfork: Best New Music - Sélection du Mercury Prize
E’ l’album di debutto del duo britannico elettronico/garage/house Disclosure. Preceduto da una serie di singoli che apre loro la strada prima nei Paesi Bassi poi in Inghilterra tramite il canale BBC, quali “Latch”, “White noise”, “You and me”, “Settle” ottiene generalmente ottimi riscontri da parte della critica e raggiunge la prima posizione nella classifica inglese, ottenendo anche un secondo posto nelle classifiche dance americane. Il duo ospita nel disco diversi vocalist, troviamo Sam Smith nel brano “Latch”, Aluna George in “White noise”, Ed MacFarlane in “Defeated no more”, Sasha Keable in “Voices”, Eliza Doolittle in “You and me”, Jamie Woon in “January”, Jessie Ware in “Confess to me” e London Grammar nella conclusiva “Help me lose my mind”. © TiVo
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Elettronica - Uscito il 10 giugno 2013 | Universal-Island Records Ltd.

Riconoscimenti Pitchfork: Best New Music - Sélection du Mercury Prize
E’ l’album di debutto del duo britannico elettronico/garage/house Disclosure. Preceduto da una serie di singoli che apre loro la strada prima nei Paesi Bassi poi in Inghilterra tramite il canale BBC, quali “Latch”, “White noise”, “You and me”, “Settle” ottiene generalmente ottimi riscontri da parte della critica e raggiunge la prima posizione nella classifica inglese, ottenendo anche un secondo posto nelle classifiche dance americane. Il duo ospita nel disco diversi vocalist, troviamo Sam Smith nel brano “Latch”, Aluna George in “White noise”, Ed MacFarlane in “Defeated no more”, Sasha Keable in “Voices”, Eliza Doolittle in “You and me”, Jamie Woon in “January”, Jessie Ware in “Confess to me” e London Grammar nella conclusiva “Help me lose my mind”. © TiVo
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Musica alternativa e indie - Uscito il 06 maggio 2013 | Matador

Riconoscimenti Pitchfork: Best New Music - Sélection du Mercury Prize
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Rock - Uscito il 08 marzo 2013 | Columbia

Hi-Res Riconoscimenti 3F de Télérama - 5 étoiles Rock and Folk - 5/6 de Magic - Sélection du Mercury Prize
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R&B - Uscito il 04 marzo 2013 | RCA Records Label

Riconoscimenti 5/6 de Magic - Sélection du Mercury Prize
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R&B - Uscito il 01 marzo 2013 | RCA Records Label

Riconoscimenti 5/6 de Magic - Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 24 febbraio 2013 | Accidental Records Ltd

Riconoscimenti Sélection du Mercury Prize
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Dance - Uscito il 22 febbraio 2013 | Asylum

Riconoscimenti Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 31 gennaio 2013 | Warner Records

Riconoscimenti Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 31 gennaio 2013 | Warner Records

Videos Riconoscimenti Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 14 gennaio 2013 | Domino Recording Co

Hi-Res Riconoscimenti HD Audio - Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 14 gennaio 2013 | Domino Recording Co

Riconoscimenti Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 01 gennaio 2013 | Virgin Records Ltd

Riconoscimenti Sélection du Mercury Prize
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Pop - Uscito il 01 gennaio 2013 | Universal-Island Records Ltd.

Riconoscimenti Sélection du Mercury Prize
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Musica alternativa e indie - Uscito il 22 ottobre 2012 | Infectious

Riconoscimenti 4F de Télérama - Sélection du Mercury Prize
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Hip-Hop/Rap - Uscito il 23 luglio 2012 | Atlantic Records

Riconoscimenti Sélection du Mercury Prize
Having spent a couple years supporting his successful 2010 effort The Defamation of Strickland Banks, Ben "Plan B" Drew had to strike while the iron was hot, seizing the day with enough clout and financial backing to fund his directorial debut, the feature film Ill Manors. As such, this soundtrack was a bit delayed, with some tracks recorded after the film's completion, but if ever a recording deserved that "music from and inspired by the film" tag, it's this one. Ill Manors, the soundtrack, is a thematically sound album with the dour life of the U.K.'s lower-class youth always in focus. Their dreams, hopes, victories, and inevitable defeats fuel these songs, all of it tied together by dialog from the film along with spoken word from performance poet John Cooper Clarke, his dark humor making him the album's wise and wise-cracking "Watcher." Like Drew's leap into the director's chair, it's an ambitious move, but any thought that he's in over his hoodie is wiped away quickly by the opening title track, which invites "Let's all go on an urban safari/We might see some illegal migrants" as cellos and dirty beats lay underneath, because this is not only a full-bodied, string-instrument soundtrack, but a grimy soundtrack too. Drew's turns of phrase are in check here, and while he's still good in an Eminem style with shocking punch lines, his writing is simpler and more earnest than previously, leaving the metaphorical stuff up to Clarke and the dialog samples. "Drug Dealer" could have fallen out of the late '80s with its boom-bap beat and slice-of-hood-life lyrics, and even if dubstep, grime, and an ultra-fast delivery all point to rap that's post-millennial, Drew's throwback, keep-it-simple style is a welcome contrast. Hearing about kids who don't make it to their teens or parents who are doomed to inflict their pain on the next generation in such raw and certain terms is designed to snap listeners out of their jaded mindset, and it works, especially when surrounded by music that is either rich and seductive or immediate and flashy. Solid, purposeful, and crafted in a manner that betrays both Drew's age and the album's hurried road to release, Ill Manors makes heavy-hitter number three for the rapper, suggesting that Plan B doesn't issue albums, just milestones. © David Jeffries /TiVo
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Musica alternativa e indie - Uscito il 01 ottobre 2012 | WM UK

Riconoscimenti Sélection du Mercury Prize
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Rock - Uscito il 07 maggio 2012 | Parlophone UK

Libretto Riconoscimenti Sélection du Mercury Prize
The cover of Richard Hawley's Standing at the Sky's Edge reveals that something very different is afoot. Given the string-laden, heart-wrenching balladry of Truelove's Gutter, and the orchestrated, tender cibachrome glimpses of a simpler life in and around his native Sheffield on Ladysbridge and Cole's Corner, this is a kick in the head. Hawley has brought his guitar and a basic rock band setup back to the fore here, and his references come from the late '60s. Its production is highly textured, expansive, and aggressive. Opener "She Brings the Sunshine" begins slowly with a tamboura, a bluesy, distant guitar solo, a sitar, and even a violin. But a thudding bassline and the drum kit come crashing in less than a minute later and it becomes a cacophonous throb. It's pure psychedelia with all manner of sonics blurring in the mix (he calls them "rocket sounds"). Hawley offers a squalling guitar break in the middle (one of many fine ones).The title cut commences with an organ, acoustic resonator guitar, a simple bassline, and hypnotic tom-toms. As the track builds, Hawley adds a lilting hook in the refrain of a simple melody. His gorgeous baritone is right up front; his poignant lyrics offer three narratives about biblically named characters -- Joseph, Mary, and Jacob -- who respond to insurmountable difficulties) are made more so by the forceful, dramatic accompaniment -- Dr. John's "I Walk On Gilded Splinters" is referenced in the last third. Hawley uses psychedelia in much the same way Paul Weller did on Heavy Soul: as an extension of his songwriting, pushing his basic rock & roll chops to create songs with a sense of urgency. He gets downright raw on "Down in the Woods," openly copping the riff from the Stooges' "1969" with guitars and bass blazing, surrounded by washed sonics and frenetic drums. But there are other moments here: "Seek It," a love song, carries more familiar Hawley melodic touchstones and an infectious chorus. "The Wood Collier's Grave" is an allegorical folk ballad about individual isolation as a consequence of catharsis. The scorching closer "Leave Your Body Behind You" addresses the necessity of finding a way through crisis and dissolution while in the midst of it. Truth is, SATSE is a political album, albeit one free of clichéd sloganeering and/or self-righteousness. Hawley's protagonists are downtrodden, broken, or near despair; they're very human. As a songwriter, he never sacrifices the voices of his subjects for the sake of sound. By employing hard-rocking, often spacey psychedelia to express the anger he feels at watching hard-won gains of history being damaged and destroyed, Hawley delivers an essential listen. His aesthetic is certainly apropos of the current era; possibly even a brilliant summation of it. [The American version of the album contains the bonus track "You Haunt Me."] © Thom Jurek /TiVo