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Pop - Verschenen op 13 april 2018 | Sony Music CG

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Jazz - Verschenen op 6 april 2018 | Okeh

Hi-Res Booklet Onderscheidingen Qobuzism
They knew what they were doing when they named this record Nordub. Nor for North, represented here by Nils Petter Molvaer. In 1997, when the label ECM brought out the stunning album Khmer, this Norwegian trumpeter shook the jazz world by bringing electronic music into his atmospheric musical world. Nor is also his fellow countryman, guitarist Eivind Aarset and Finnish electro-tinkerer and DJ Vladislav Delay. As for the three letters of Dub, they stand for the genre's most classic duo: Sly Dunbar on drums and bassist Robbie Shakespeare. In 2016, this motley crew made up of the Jamaican tandem and Nils Petter Molvaer hit the stage. It was quite a warm-up for their studio session in Oslo. In essence, Molvaer's world has always been a hybrid, bringing together textures that were never exclusively jazz. His playing style uses different atmospheric controls without ever losing the creative strength of his improvisations or compositions. Here, the trumpeter even works his way into the unique Sly & Robbie sound with a perfectly natural air. And that is surely the strength of Nordub. No-one takes over, or tries to overpower the other. The fusion is total, and sincere. We even feel that our two old Jamaican long-distance travellers have strayed out of their normal comfort zone to take part actively in this music as it takes shape. Just like Aarset and Delay's work, every part is a vital component of the final result. Together, our five sound adventurers produce a fine symphony of truly singular dub and jazz. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 6 april 2018 | Transgressive

Hi-Res Onderscheidingen Qobuzism
Adventurer. Storyteller. Artisan. Collector. And above all, Writer. Cosmo Sheldrake is all that. And more! A virtuoso one-man orchestra, master of an indecent number of instruments, the young Brit crafts magical and genre-defying little symphonies. These songs evoke Beirut's fanfare (a thing we often find ourselves thinking about) as much as they do repetitive minimalist music, world music, the baroque pop of the Kinks' Village Green Preservation Society and the late sixties, the iconoclast Moondog and countless other sounds. These are sounds that Cosmo Sheldrake merrily collects from across the globe, with his little tape recorder in hand. But the power of The Much Much How How And I lies in its refusal to wallow in experimental self-indulgence. On the contrary! Songs, real ones, with a beginning, middle and end – plus a chorus and a melody – remain his holy grail. His album is touching and beautiful because it was conceived with this unique goal in mind. With electro producer Matthew Herbert at the console, himself no stranger to bizarre collages, The Much Much How How And I has all the fertile imagination of a Lewis Carroll story, and all the colours of the rainbow. This has to be the most Cosmo-politan Qobuzissime yet! © Marc Zisman/Qobuz
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Electro - Verschenen op 9 maart 2018 | Ed Banger Records

Hi-Res Onderscheidingen Qobuzism
A specific and a lasting reading disorder that occurs during childhood and adolescence, dyslexia is recognized as a dysfunctional learning disability. No doubt that 10LEC6 just learned ... differently? The Afro-post-punk collective has first and foremost digested a number of influences quite impressively. From funky post-punk like ESG and Liquid Liquid hailing from New York in the 80's. But also disco, house, punk from Bad Brains, afrobeat, high-pitched electro and very solid tribal rhythms. Since 2004, the group of varying geometries formed around the street artist Simon and the producer and DJ Jess (a member of the duo Jess & Crabbe) and they make fusion like no other! A fusion that was formed with the arrival in 2014 of a new voice, Nicole, who sings in Bulu, a Bantu language which is spoken in the south of her native Cameroon. With Bone Bame, rhythm takes control of the body and the brain. This third album that appears on Ed Banger, the label of Pedro Winter, is above all a long percussive and electronic trance where the heavy bass and the incantatory voice of Nicole makes it totally elusive. All that is left to do is to let yourself go with delight on this singular and cosmopolitan dancefloor that is like no other. An all round Qobuzissime! © Marc Zisman/Qobuz
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Operafragmenten - Verschenen op 2 maart 2018 | Decca

Hi-Res Booklet Onderscheidingen Diapason d'or / Arte - Qobuzism
Nowadays it might seem rather strange to describe a composer as a “singing master”, but, during the eighteenth century, this was not the case at all. In Italy, almost every composer worthy of the name wrote opere serie (Porpora wrote at least forty- ve): serious opera was the dominant musical genre, glorifying the human voice above everything else. It was the maker or breaker of musical reputations, with its nest singers the rst superstars of music. Therefore composers, though generally eclipsed by the fame of their leading men and women, needed to understand the human voice and all its remarkable capabilities, both technical and histrionic, in order to be able to exploit the possibilities of the operatic form at a time when those “machines made for singing”, the castrati, had brought the vocal art to a pitch of perfection never known before, nor equalled since. Though this recording is bringing Porpora’s name to public attention again on the 250th anniversary of his death, his fame as a singing teacher has probably obscured, until recently, his remarkable qualities as a composer, quite simply because two of the most famous castrati were among his many pupils, namely Gaetano Majorano, known as Caffarelli, whom Porpora once called “the nest singer in Europe”, also famed for his amorous antics and arrogance on- and off-stage, and the even more celebrated Carlo Broschi, who, under his stage name of Farinelli, amazed audiences and set hearts a- utter for fteen years throughout Europe, before being called to Spain to heal a crazed King by the power of his voice. Max Cencic remarks: “Porpora was a severe teacher, I think, maybe almost sadistic in his demands — you need 120% control of breath, brain and voice”. Legend indeed has it that he taught Caffarelli one page of exercises, and those alone, for six years. The formal alternation of aria and recitative in opera seria conceals a great range of emotional expression, that varietas that Erasmus famously described as “so powerful in every sphere that there is absolutely nothing, however brilliant, which is not dimmed if not commended by variety”. In such forms as the orid aria di bravura or the lyrical aria di sostenuto, the composer’s fantasy only provided a framework for the singer to embroider: the performer’s skill in ornamentation and other emotional devices was of paramount importance. Porpora’s many years of both teaching and composing experience made him, in Max Cencic’s opinion, “one of the top ten composers of Italian Baroque opera. I chose the arias for this recording almost by instinct, by what ‘felt right’. There is no way one can encompass a composer of such quality in one album, and each piece is a treasure in its own right. Though technical display is everywhere — leaps, rapid scales, trills, long phrases — Porpora’s special and utterly captivating melodic gift always shines through.” The arias are all taken from works composed at the height of Porpora’s fame, from Ezio (Venice 1728; “Se tu la reggi al volo” is a semiquaver spectacular) to Filandro (Dresden 1747, with a ravishing siciliano in “Ove l’erbetta tenera, e molle”), including three of the operas he composed for London during the 1730s, in direct competition with Handel (Arianna in Nasso 1733, Enea nel Lazio 1734 — real reworks here in “Chi vuol salva” — and I genia in Aulide 1735). The Teatro San Carlo in Naples, perhaps the most famous of all opera houses at that time, saw the premiere of Il trionfo di Camilla in 1740, and the two arias recorded here show Porpora at his best: the music of “Va per le vene il sangue” evocatively matches its darkly suggestive text, while “Torcere il corso all’onde” combines rapid- re coloratura with elegance of line. In the three arias from Carlo il Calvo (Teatro delle Dame, Rome 1738) the singer is similarly called to match Porpora’s varietas with his own: from the scurrying oriture of “So che tiranno io sono” to the high-lying phrases of “Se rea ti vuole il cielo”, and the beguilingly hypnotic sostenuto of “Quando s’oscura il cielo”. Porpora’s orchestral writing is also remarkably varied, all the more so in that he generally uses only strings, nowhere better than in the elaborate lines of “Torbido intorno al core” from Meride e Selinunte (Venice 1726), where voice and violins entwine in an elaborate and emotionally suggestive web of divisions. However, sometimes he pulls out all the sonority stops, as in the martial “Destrier, che all’armi usato” where, at the rst performance in the Teatro Regio, Turin in 1731 trumpets and horns vied with the unmatchable power of the voice of Farinelli. As Max Cencic has said: “How can we emulate the great castrati? That is hard to pin down, but these voices were the very soul of Porpora’s music.” -Nicholas Clapton © 2018 – Decca Group Limited
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Alternative en Indie - Verschenen op 2 maart 2018 | Domino Recording Co

Hi-Res Onderscheidingen Qobuzism
Confusion guaranteed! They are Australian, Japanese, English, Korean and they have dropped their anchor in the UK capital. They love the pop of yesterday as much as the pop of today. They make musical collages look as easy as breathing in and out. What if Superorganism were THE group that captured all that's best in our times? This young collective of international musicians, all big fans of pop culture, met on YouTube; and they composed, recorded and produced their first album in a studio in East London, where they now live together! This sunny record is a rainbow of minimalist indie pop, synthetic and racing, as extravagant as it is kaleidoscopic, bringing praise from artists like Frank Ocean and Ezra Koenig from Vampire Weekend. For some this will bring to mind those distant cousins of the The Avalanches, The Go! Team or I'm From Barcelona: but Superorganism has a light touch and a dreamlike, soothing quality which are all their own, and which have made this album a heartwarming Qobuzissime. © Marc Zisman/Qobuz
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Jazz - Verschenen op 9 februari 2018 | Brownswood Recordings

Hi-Res Booklet Onderscheidingen Indispensable JAZZ NEWS - Qobuzism
And here we go again: London Calling! But this time, the call doesn’t come from the rock ‘n’ roll’s hungry depths but rather from the jazz’ ones. A jazz which we can only label as special so much the young London scene compiled on this We Out Here was built on mixed influences, soul as well as Afrobeat, fusion or electro. To center in on this new generation, Brownswood Recordings, Gilles Peterson’s label, entrusted the album’s artistic direction to the most publicized among them: saxophonist Shabaka Hutchings. Recorded over three days, the selected musicians and bands display a jazz spirit rather than jazz form. Therefore, drummer Jake Long and his formation Maisha play at being voodoo masters in the style of a Pharoah Sanders. Fela’s Afrobeat provides a fertile ground to the Ezra Collective from drummer Femi Koleoso but also to the Kokoroko Collective. While another drumming ace, the charismatic Moses Boyd, wraps up his rhythms in a brilliantly hypnotic electro loop before coming back to the paths of an invigorating libertarian jazz. This Qobuzism colorful like never before, includes instrumentals from the likes of Theon Cross, an impressive tuba marathoner (and incidentally an accomplice of Shabaka Hutchings within the Sons Of Kemet), Nubya Garcia, a saxophonist possessed by Charles Lloyd’s lyricism, and also Joe Armon-Jones, a keyboard mad scientist who knows Herbie Hancock like the back of his hand… With We Out Here, and the new London jazz scene pens a manifesto as dynamic as it is eclectic. © Marc Zisman/Qobuz
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Franse chansons - Verschenen op 2 februari 2018 | Barclay

Hi-Res Booklet Onderscheidingen Qobuzism
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Alternative en Indie - Verschenen op 26 januari 2018 | LasVegas Records

Onderscheidingen Qobuzism
Ever since the release of their debut album Spanish Disco in 2015, Leyya’s music has been playing on loop on Austrian radio stations. The two young Vienna-based artists, producer and composer Marco Kleebauer and the singer Sophie Lindinger, have been accomplices since childhood, forming a duo in 2014 that becomes a quartet when they perform live. Their style is dominated by electronic sounds, which they have further developed for their second work, Sauna. Marco’s synth sounds are transformed into dreamy melodies and contemporary pop, enhanced by Sophie’s light, fresh voice that occasionally sounds like Feist. The duo composed the songs during their 2017 European tour, taking the time to reflect, a characteristic that’s not just unique to a Suana by the way. Leyya perform like painters that apply the utmost care to each and every brushstroke. On Sauna, a place for sweating and meeting people, the duo leave the beats running drop by drop (Oh Wow), turn up the heat (Drumsolo, Heat) and let the bubbling be heard (Candy). After this sudorific experience, you can’t help wanting to slide down their rainbow. Leyya transforms winter into summer and colours the fog. A Qobuzissime album that comes out just at the right time! © SD/Qobuz
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Alternative en Indie - Verschenen op 12 januari 2018 | Dead Oceans

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
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
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Rock - Verschenen op 1 december 2017 | Rhino - Warner Bros.

Hi-Res Onderscheidingen 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
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Klassiek - Verschenen op 1 december 2017 | Aeolus

Hi-Res Booklet Onderscheidingen 5 de Diapason - Uitzonderlijke Geluidsopnamen
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Rap - Verschenen op 1 december 2017 | Pineale Prod - Grand Musique Management

Hi-Res Onderscheidingen Qobuzism
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Rock - Verschenen op 24 november 2017 | Rhino - Elektra

Hi-Res Onderscheidingen The Qobuz Ideal Discography
Released in 1976, this fifth album from the Eagles would remain their greatest success. Opened by the eponymous hit single, Hotel California marked a turning point in the career of the American group. Bernie Leadon, the most country-orientated band member, jumped ship and Joe Walsh came on board. For his part, Don Henley also seemed to take more control the business. The result was a much more mainstream record than the album’s predecessors with truly enveloping sounds at the peak of their tracks. Everything is XXL here! The production, the solos, the melodies… everything! A masterpiece of classic rock, this is above all a work that crosses decades and makes the crowds go wild. Glenn Frey, Don Felder, Joe Walsh, Randy Meisner and Don Henley would never again find again such impressive complicity and efficiency… Published in November 2017, this 40th anniversary edition offers an original remastered album as well as an energetic Californian live session recorded at The Forum in Inglewood, October 1976. © CM/Qobuz
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Punk en New Wave - Verschenen op 24 november 2017 | Rhino - Warner Bros.

Hi-Res Onderscheidingen 4F de Télérama - Ideal Audio Discography
The rules of the game were certainly perfectly clear after their first album: in the third instalment of the Ramones' story, they surpassed themselves. And even refined their art! Once again, with this Rocket to Russia, released on 4 November 1977, at the height of the Cold War, it was all about three-chord symphonies, enthusiastically cretinous and 100% adolescent hi-jinks and above all, taking rock'n'roll back to its birthplace: the garage! But the refrains of Sheena Is A Punk Rocker or Teenage Lobotomy are peerless in their re–imagining of their rock’n’roll, bubblegum pop and surf heritage. And even when they cover the cult tracks Surfin’ Bird by the Trashmen or Do You Wanna Dance? (made famous by Cliff Richard, the Beach Boys and even Bette Midler) our delinquent punks from Queens produced savage and raw rock like nobody else! This edition to mark the 40th birthday of this sublime sonic attack offers two mixes of the album: the original, and a new mix, entitled Tracking Mix by Ed Stasium, the sound engineer on the original release. It also includes 24 rare or unreleased tracks, demos, alternative versions and B–sides. And the cherry on the cake is a dazzling, unreleased live version by the four Ramones brothers (all from other mothers) recorded on 19 December 1977 the Apollo Centre in Glasgow, Scotland. © MZ/Qobuz