Your basket is empty

Categories :



What is a Qobuzissime? It’s an award presented by Qobuz for a first or second album.

Pop or Reggae, Metal or Classical, Jazz or Blues, no genre is excluded. More often than not the award is presented to a newly discovered artist.

Sometimes it might be a particularly quirky or a crossover album from a discography.

The important aspects are uniqueness, sincerity and quality. We look for these things in the recording, the project and the sound identity.





Albums

HI-RES€ 15,99
CD€ 13,49

Klassiek - Verschenen op 16 oktober 2020 | Warner Classics

Hi-Res Booklet Onderscheidingen Qobuzism
"Vieux pays merveilleux des contes de nourrice" (‘Old marvellous land of nursery tales’): These few words describe the irresistible and striking interpretation of Ravel's Shéhérazade, now of a bygone era. The timbral lows and highs radiate from Egyptian soprano Fatma Said’s voice. Her exemplary diction shines. Each word is intelligible and each sound exists to colour the word, emphasising its meaning. Nobody would have thought that the singer’s extremely versatile musicality – reminiscent of Regine Crespin’s vibrant performances – would find an even greater versatility in the orchestral version, with Malcolm Martineau’s beautifully timbred and precise piano occasionally slowing things down.The program completely immerses itself in Spain, with Rafael Aguirre’s subtle guitar substituting itself for Martineau’s piano. Other facets of Fatma Said’s voice are her musical agility and ethereal spirit, which are revealed in the two Falla pieces. The Canción de Marinela by José Serrano, where her voice thickens, will remain an unforgettable moment of sweet sensuality. It's easy to start dreaming of Said exploring some other roles in zarzuelas, for which she would be divine! The three songs by Federico García Lorca, excerpts of the 13 Canciones españolas antiguas, are rather modest and of a noble elegance, even in the carnal arabesques of Nana de Sevilla. This is the perfect transition for the ‘Arabic’ songs that Fatma Said chooses next.She introduces, for example, a pretty melody from Egyptian composer Gamal Abdel-Rahim (1924-1988), before flying off into the gorgeous Adieux de l’hôtesse arabe by Bizet where Burcu Karadağ's nev (a sort of reed flute) improvises in counterpoint alongside the vocals. The last four pieces return to the Egyptian and Lebanese standards, in a jazzy and nostalgic atmosphere. This is a captivating album with overwhelming emotion! © Pierre-Yves Lascar/Qobuz
HI-RES€ 16,49
CD€ 11,99

Alternative en Indie - Verschenen op 2 oktober 2020 | Heavenly Recordings

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
Sharp, dry and unyielding, the neo-post punk scene, making waves in the UK, is hitting the dance floors thanks to Working Men’s Club. With their first album, Eponym, the young quartet from Todmorden, near Manchester, reignite the flames that once burned with New Order (Power, Corruption & Lies), The Fall, Human League, Gang of Four, D.A.F and Suicide. The young frontman Sydney Minsky-Sargeant sets the scene: ‘There isn’t much to do in Todmorden when you’re a kid. The Town is quite isolated and it can be very depressing to live in a place where, in winter, sunlight only lasts a few hours.' Locked in his room, Minsky-Sargeant spent his time tinkering with and mixing synthesisers, guitars and drums. The record blends chanting vocals, Stakhanovite rhythms, sickly guitar riffs and massive bass sounds. It's easy to lose control of one's body as it grooves and contorts to the rhythm of this unusual acid electro-rock, often reminiscent of early LCD Soundsystem. Minsky-Sargeant sports a t shirt marked with the word ‘SOCIALISM’ as the group christen their song John Cooper Clarke (the ever-popular punk poet), lighting up the grey skies of their native Yorkshire. Occasionally, Minsky-Sargeant relaxes into hedonistic new wave with tracks like Outside. But when he loses his temper, the electro-funk-tinged disco punk oozes from his soul (Teeth). This is a truly stunning record with impressively tight production, courtesy of Ross Orton (The Fall, M.I.A, Arctic Monkeys). No time to lose, have a listen! © Marc Zisman/Qobuz
HI-RES€ 13,49
CD€ 8,99

R&B - Verschenen op 2 oktober 2020 | Haliblue Records

Hi-Res Onderscheidingen Qobuzism
With Goldress, their first EP released in February 2020, Alban and Yvan, under the alias YellowStraps, had already set the bar high. On the album cover they posed like well-behaved school children, standing upright, heads draped in gold satin. The eight tracks of the well-conceived neo-soul record were full to the brim and echoed the likes of Maverick Sabre, Daniel Caesar and even King Krule. Such maturity at such a young age is rare! But it is important to note that the two brothers, who grew up in Uganda before moving to Belgium, had been immersed in the Brussels scene for some time, mingling with the likes of Romeo Elvis and producer Le Motel. Inspired by the 2020 lockdown, the duo undertook this new project for which they would produce one piece of music per day and collaborate extensively with other musicians online. The project, entitled Yellockdown Project, is a clear success with 13 tracks featuring guests from all over the musical sphere. From neo-soul to rap, this project allowed the brothers to broaden their musical horizons and open themselves up to future collaborations. The record features the likes of Crayon, Lord Esperanza and Jae Luna. The only difference from their previous record, Goldress, is that here the brothers take the leap to French lyrics on a few tracks, such as Raison, Visage, Frissons and Si Tu Savais. This record is a real gem which highlights YellowStraps' huge potential and puts the Belgian music scene back on the map. © Charlotte Saintoin/Qobuz
HI-RES€ 13,49
CD€ 8,99

Pop/Rock - Verschenen op 25 september 2020 | Capitane Records

Hi-Res Booklet Onderscheidingen Qobuzism
Behind his ordinary name, Nicholas Michaux writes and produces distinctively original songs. After the failure of his band ‘Ete 67’, he decided to pursue a solo career, releasing ‘A La Vie, A la mort’ on ‘Tot ou Tard’ records. His latest offering, ‘Amour Colère’ released under Capitane records, further develops his rather sentimental outlook on daily life. On ‘Cancer’ the Belgian native, who shares his life experiences living between Brussels and the Danish Island Samsø, plays with clever language to better come to terms with the disease. The album is written partly in English, partly in French, with Michaux poetically jumping in and out of both languages. His vocal style, melancholic, unobtrusive and always simple, is reminiscent of Alain Bashung’s longingly soothing vocals. Eclectic yet brilliantly homogeneous, this record blends classic French ‘chanson’ (A nouveau) with romantic pop (Amour Colère, Nos retrouvailles), tonic (Parrot), romantic post punk (Every Word, Harvesters) and even glam rock (Factory)! The production is basic and doesn’t offer the sheen of modern pop music, however this isn’t to say the quality is poor! Quite the opposite! This album is beautifully tireless, offering skillfully poetic verses and gentle yet driven choruses. It is a pleasure to listen to such exquisite, well dressed language. A True gem of an album! © Charlotte Saintoin/Qobuz
HI-RES€ 14,49
CD€ 9,99

Kamermuziek - Verschenen op 25 september 2020 | Passacaille

Hi-Res Booklet Onderscheidingen Qobuzism
If the Richter Ensemble is a new name to you, then that's because in the grand scheme of things it's relatively new on the block, formed as recently as 2018 by British-Brazilian Baroque violinist and former Academy of Ancient Music concertmaster, Rodolfo Richter. Its other members are equally drawn from across the world of Historically Informed Performance, and while HIP credentials may not at first glance seem an obvious fit for a debut album of Second Viennese School repertoire, they actually point both to the group's mission statement and its unique selling point – to highlight hidden connections between repertoire ranging from the seventeenth to the twenty first centuries, with all of that repertoire played exclusively on gut strings. Back to the recording in hand, and this is the first installment of a project to record the complete Second Viennese School string quartets on gut strings, and it is very fine indeed. Repertoire-wise, they take us through chronologically, beginning with Webern's ardent one-movement Langsamer Satz of 1905, couched in the language of late Romantic chromaticism; then Schoenberg's String Quartet No. 2 of 1907-8, one of his first forays into atonality which features a mezzo soprano for its latter two movements setting poems by Stefan George; after which comes Berg's two-movement String Quartet Op. 3 of 1910, equally exploring atonality. Sound-wise, beyond super-glued chamber playing and wonderfully rich-toned and emotive vocal performances from mezzo Mireille Lebel, what really makes these interpretations stand out is the way they place the works in their immediate Viennese context: the fact that it wasn't a hard-edged brand of modernism that was in everyone's heads during these early ventures beyond tonality, but instead the music of Brahms, Mahler and Wagner; and all this amid a wider expressionist and symbolist artistic context that equally blended Romanticism and modernism – think of Gustav Klimt's paintings. So, beyond the greater softness and wider coloristic palette offered by those aforementioned gut strings, we also get tonal sheen, subtle “portamentos”, and a singing freedom to their lines. We are also at a period pitch slightly lower than today's standard: A=432Hz compared to the current 440Hz. Yet all this Romantic gorgeousness is still sounding clean as a whistle – just thanks to the nineteenth century practice of using vibrato only sparingly. Even if Second Viennese School isn't your usual bag, I urge you to give it a spin. This is likely to be a very covetable series indeed. © Charlotte Gardner/Qobuz
HI-RES€ 17,49
CD€ 12,49

Jazz - Verschenen op 11 september 2020 | Blue Note Records

Hi-Res Onderscheidingen Qobuzism
Super groups are often over marketed and rather dull. However, this appears to be the complete opposite with Artemis’s debut album, released on Blue Note Records. Behind the Artemis name, Greek Goddess of nature, the hunt and childbirth, are seven internationally acclaimed female musicians, each masters of their craft. At the head of this multi generational roundup, the Canadian pianist and musical director of the project, Renee Rosnes has brought together the Israeli clarinetist Anat Cohen, the Chilean tenor saxophonist Melissa Aldana, the Canadian trompettiste Ingrid Jensen, the Japanese double bassist Noriko Ueda, the American drummer Allison Miller, and on two tracks, the Franco-American vocalist Cécile McLorin Salvant. ‘Each member of Artemis is a unique individual, and this is what music needs, artistic versatility!’, explains Cohen. ‘It’s the people that make life interesting and that make music captivating’. The group’s identity has flourished organically thanks to the seven musicians, each expressing their own vison and perspective yet maintaining a strong homogeneity throughout the record. For Jensen, ‘the character of the Greek Goddess Artemis reveals the energy and the broad musical horizons that our band brings on stage’. This is where the success of the record, focused on natural unification, shines. This vast album, comprised mainly of original compositions also features eclectic covers of The Fool On The Hill by the Beatles, Cry Buttercup, Cry, popularised by Maxine Sullivan, The Sidewinder by Lee Morgan and If It’s Magic by Stevie Wonder. Expert in her field, Renee Rosnes’ musical arrangements capture and cement the artistic creativity of each member. This super group, entirely female in its line-up, sends a strong message to the male dominated jazz world. Artemis’ music is beautiful, intelligent, and challenges the preconceived ideas of the jazz genre. ©️ Marc Zisman/Qobuz
HI-RES€ 21,49
CD€ 14,99

Jazz - Verschenen op 21 augustus 2020 | Concord Jazz

Hi-Res Onderscheidingen Pitchfork: Best New Music - Qobuzism
Although this release is Nubya Garcia's first real solo album, the artist is accustomed to being showered with praise, awards, prizes, projects and collaborations. At 29 years old, the Londoner is undoubtedly one of the major players on the new British jazz scene and her colourful, full-bodied saxophone playing has already resonated on numerous recordings such as those of the groups Nérija and Maisha, and on two thirds of We Out Here (2018), the iconic compilation album from Gilles Peterson’s Brownswood label which united the big names on the contemporary scene. It is with some of these musicians that she has recorded Source. Joined by Joe Armon-Jones (keys), Daniel Casimir (bass) and Sam Jones (drums), Garcia was certainly well-equipped to push the boundaries of contemporary jazz and the UK music scene. As is often the case with contemporary UK musicians, Afro-Caribbean and urban sounds come to influence the rhythms as well as the melodies. Such a fusion is often present in UK jazz albums which also have their own unique flavours. The influence of Herbie Hancock (from the Headhunters period/early Columbia Records) is never far away (Inner Game, The Message Continues). This sensation is amplified by the funky playing of the organ and synth magician, Joe Armon-Jones.But Nubya Garcia is hungry for other sounds and landscapes. On the title track Source, the dub influence is clear. On Together is a Beautiful Place To Be, she deploys a delicate soul and R&B sensuality. Stand With Each Other slaloms between spellbinding nyabinghi rhythms while the aptly named La cumbia me està llamando leaves no doubt as to its influences… All of these sequences paint the picture of a woman well anchored in her time, a musician who is in harmony with her roots and history and puts the notion of collectiveness at the forefront of her artistry. Garcia's notable invitees include Richie Sievwright, Cassie Kinoshi and Sheila Maurice-Grey from the group Kokoroko, the Colombians of La Perla (La cambia me està llamando) as well as Chicago singer Akenya Seymour (Boundless Beings). With this Qobuzissime winning album, Nubya Garcia succeeds in going that little bit further and breaking down the walls that try to hold jazz back. © Marc Zisman/Qobuz
HI-RES€ 11,99
CD€ 7,99

Punk en New Wave - Verschenen op 3 juli 2020 | Duchess Box Records

Hi-Res Onderscheidingen Qobuzism
A few seconds of Freier Geist is all it takes for Sofia Portanet to transport us from 2020 to 1980. Despite being born at the end of 1989 and never having lived through the era, the German singer’s Qobuzissime debut album breathes new life into Neue Deutsche Welle. The ‘80s was a time when Nina Hagen reigned over Europe’s new wave and post-punk with high energy and madness and Kraftwerk was greatly expanding its audience. It was a time characterised by D.A.F.’s marching beats, the romantic ravings of Kate Bush, Toyah and Lene Lovich and the quirky pop of Falco and Rita Mitsouko. All of these artists are dear to Sofia Portanet, who was born in Kiev, grew up in Paris and now lives in Berlin. Singing as brilliantly in German as she does in English and French, she also finds inspiration in great voices who mixed film, theatre and cabaret, such as Ingrid Caven and Hildegard Knef. To summarise, without all of these references, the enchanting Freier Geist finds the perfect balance between longing for the ‘80s (even if you didn’t live through them) and glints of modernity. But above all, it’s the power of Sofia Portanet’s music that makes it so intoxicating. © Marc Zisman/Qobuz
HI-RES€ 21,49
CD€ 14,99

Alternative en Indie - Verschenen op 12 juni 2020 | Caroline International (S&D)

Hi-Res Onderscheidingen Qobuzism
To Love Is To Live is Jehnny Beth’s debut full length solo album, but the record is a new step in her really dense career. Jehnny Beth used to be half of the duet John & Jehn; she made her breakthrough as the Savages’ lead singer and has collaborated with such musicians as Gorillaz (We Got the Power) and The Strokes’ Julian Casablancas (Boy/Girl). In films, she has worked with Catherine Corsini (Un Amour impossible) and Alexandre Astier (Kaamelott). She’s a radio host (Start Making Sense for Beats 1) and a TV host (Echoes on Arte) and also a writer, who will soon publish her first collection of erotic short stories entitled C.A.L.M.: Crimes Against Love Memories, illustrated by Johnny Hostile’s photographs.Jehnny Beth’s prolific inspiration, made of style, sounds, emotions, and contextual encounters is at the center of To Love Is To Live. She hired Atticus Ross, Flood, and Johnny Hostile to produce and take care of a large part of the record’s instrumentation. It is post-punk, industrial new wave, electronic cold wave and viscerally dark rock at the same time. Sometimes, it even sounds like a make-believe movie soundtrack. The album is a mixture of contrasts enhanced by the guest performances of Romy Madley Croft from xx, actor Cillian Murphy, and Idles’ singer Joe Talbot.Throughout the record, ideas are pouring, as the French musician transitions from the ultra-violent industrial punk song How Could You, recorded with Talbot, to her sensual piano playing on the dreamlike ballad Countryside. But despite this assumed eclecticism, To Love Is To Live is always coherent in its feel. It is an instant Polaroid picture of our complex world, full of tensions, uncertainties, and wonderings about sexual identities, extreme politics, and collective hopes for the future. This picture looks like Jehnny Beth, it is both strong, as impressive as the album cover created by Tom Hingston (who previously worked with Massive Attack on Mezzanine), and deeply sensitive. The album opens with a song entitled I am. It concludes with Human. I am Human: a perfect circle. © Marc Zisman/Qobuz
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 5 juni 2020 | InFiné

Hi-Res Onderscheidingen Qobuzism
After Glass Cage in 2000 and Glass Piano in 2015, New York Julliard graduate pianist Bruce Brubaker returns to his obsession with Philip Glass. Brubaker taught Francesco Tristano, who went on to create many bridges between classical and electronic music. He is also one of Philip Glass’ specialists, a composer that he has played and reinterpreted many times.This time, Brubaker chose to team up with Irish musician Max Cooper, the flagship of IDM. Cooper who, on his last album, Yearning for the Infinite, invented a sort of “chaos generator”, was the perfect candidate for a tribute to one of the masters of minimalism. In the album, the seminal piece Two Pages (1968) acts as a “single track” (provided that this concept has any meaning here). It is a ten-minute hypnotic piano solo deepened by the modular synthesizer that Cooper adds to the background. The record opens and closes with two key pieces: Metamorphosis 2, a cathartic composition, and one of Glass’ major “hits,” and the Opening of Glassworks where Max Cooper’s discrete work reinforces the piece’s contemplative feel. © Smaël Bouaici/Qobuz
HI-RES€ 13,49
CD€ 8,99

Pop - Verschenen op 29 mei 2020 | Animal 63

Hi-Res Booklet Onderscheidingen Qobuzism
After the album closes, we can only wonder at Meryem Aboulouafa’s voice on her eponymous debut. We are held in a 38-minute hypnosis during which the Casablanca singer’s dreamlike organ takes control of our souls and senses, we embark on a hybrid voyage mixing soul, pop, electro, oriental music and faux film music. But like her contemporaries Kadhja Bonet (who often comes to mind), Weyes Blood, Jenny Hval and Lana Del Rey, Meryem Aboulouafa’s universe is also made up of sounds, ambiances and, above all, words… Her father raised her on all the classics (Beatles, Stones, Floyd, Dylan, Piaf, Brel, Brassens), before she went on to study music theory and violin at the Conservatoire, write her first poems in Arabic and French, and study interior design at Casablanca’s École Supérieure des Beaux-Arts. Guitar in hand, a young Meryem would write her first songs drawing the attention of Manu Barron from the label Animal (The Blaze, Myth Syzer, Johan Papaconstantino, Gabriel Auguste). With the help of Keren Ann she perfects her already solid first drafts which are intelligently assembled by production experts Para One and Okard. “Para One brought a cinematographic element to the recording which suits me well as I visualise a lot of my music and lyrics”, explains the singer. “Ojard is more about melodies, orchestration and the elaboration of complex harmonies and sounds.” A stripped-down piano here and lyrical neo-classical strings there. Continue on for warlike rhythms and a blend of electronic trip-hop. Throughout, instrumentals take care to follow the voice and introspective lyrics. “The Friend” evokes a muslim prayer and its poetic gestures, “Deeply” discusses the complexity of the human soul, “Breath of Roma” is a love letter to Italian culture, and so on and so forth. Eleven pieces make up this fascinating puzzle from beginning to end with great emotional finesse. We should narrowly avoid branding Meryem Aboulouafa the hidden love child of James Blake and Oum Kalsoum as this debut album (a Qobuzissime winner!) is the work of an artist of great personality. © Marc Zisman/Qobuz
HI-RES€ 21,49
CD€ 14,99

Alternative en Indie - Verschenen op 24 april 2020 | Beyond The Groove - Blue Note Records

Hi-Res Onderscheidingen Qobuzism
It’s a well-known cliché: two heads are better than one. Two years after his debut album, the 24-year-old London multi-instrumentalist Tom Misch (who has a distinctly Jamiroquai-esque sound) has partnered up with 27-year-old drummer/producer Yussef Dayes (the brain behind United Vibrations and one half of the electro-jazz duo Yussef Kamaal) for this irresistible album What Kinda Music. Up until now, Misch has cooked up a gourmet mix of smooth jazz syrup, funky foam, droplets of soul, hip-hop spices and a pinch of velvety pop, inviting along a star-studded line-up including De La Soul, GoldLink, Loyle Carner and Poppy Ajudha while sampling from the likes of Roy Hargrove, The Crusaders, Stevie Wonder and Patrick Watson. All these flavours and sounds form the foundation of this 2020 vintage, making the rhythmic side even more solid. Yussef Dayes jazzes up his interventions and makes his improvisations even more sophisticated. Each artist brings their own contribution to this truly collaborative work and the record strikes a perfect balance of voice and instrumentals. Both artists grew up in Peckham in South London and Tom Misch even saw Dayes play drums in the school talent show when he was 9! “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and I have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible.” It’s this perfect symbiosis between accessibility and refined genre fluidity that makes What Kinda Music sound like a laidback trip - perfect record for electro-jazz geeks. Plus, there’s another reason for Tom Misch and Yussef Dayes to bulge their chests with pride: their album has been released on the prestigious label Blue Note, confirming that they embody a certain contemporary jazz sound. “Everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realize it doesn’t have to be that way.” As for the featuring artists, the duo invited along Freddie Gibbs (who raps on Nightrider), Rocca Palladino (son of the illustrious bassist Pino Palladino who often practices with Alfa Mist) and the saxophonist Kaidi Akinnibi. An immediate Qobuzissime, this record is the umpteenth proof that the London jazz scene is alive and kicking… and now showing its funky side! © Marc Zisman/Qobuz
HI-RES€ 16,49
CD€ 11,99

Alternative en Indie - Verschenen op 3 april 2020 | Bella Union

Hi-Res Onderscheidingen Qobuzism
Dusty Springfield, Adele, Lulu, Sandie Shaw, Duffy… The tradition of British soul pop singers has always been rich, and Ren Harvieu’s second and Qobuzissime album continues this retro movement which saw great success in the 1960s. However, it hasn’t always been easy for this Mancunian singer: in 2011, fresh from signing for the Island label for whom she was recording her first album, she broke her back in a serious accident and spent months on a hospital bed. Her album Through the Night was nevertheless released but the slim success resulted in a long and tumultuous period of self-doubt for the singer. It’s a time she has now put behind her and which she touches on with Spirit Me Away and You Don’t Know Me, two highlights of this album Revel in the Drama. This sophomore record certainly feels like the result of her meeting with Magic Numbers frontman Romeo Stodart, who helped her rediscover her passion for music and her inspiration to record again. More refined than its predecessor, Revel in the Drama broaches the influences of this enchanting torch singer; while the spirit of Dusty Springfield (or closer to today, Rumer) is never far, it’s certainly KD Lang and her vocal inflections that you think of when listening. Ren Harvieu’s writing is however unique to herself. The sombre and bleak sequences are always punctuated with her signature humour, some light sarcasm that is 100% British. The freedom she expresses in her tone and her writing is similar to that of Fiona Apple, one of her idols. Revel in the Drama is a magnificent collection of timeless and moving songs, jewels of vintage pop enrobed in superb easy listening tones and high-quality arrangements that you can hum along to long into the night. ©️ Marc Zisman/Qobuz
HI-RES€ 11,99
CD€ 7,99
925

Alternative en Indie - Verschenen op 27 maart 2020 | Domino Recording Co

Hi-Res Onderscheidingen Qobuzism
Saying that a band doesn’t sound like any others is almost like saying that it sounds like all the others. Nowadays, we live in the era of open stylistic borders and only listening to things on shuffle, making Sorry (a band that is 100% 2020) even less categorizable. With an authentic rock spirit and ideas that are about as tidy as a teenager’s bedroom, Asha Lorenz and Louis O’Bryen’s first album is one of the most astonishing albums at the moment. Time will have no doubt helped these two Londoners perfect 925 as they have known each other since secondary school. No competition here, just a great collaborative effort that sees them exchange the microphone over the course of the album’s thirteen tracks, and also sharing it, much like Sonic Youth did years ago. In fact, you often think of a softer version of their New York elders when listening to this record. Like them, Sorry doesn’t smile, instead pouting with lazy nonchalance that could push you away instead of pulling you in… and yet they are fascinating. The Guardian summed it up perfectly: Sorry is “the band making ennui sexy”. The band borrows from various genres and legends: a slacker attitude from grunge, guitars from Pixies (Perfect), sultry cheek from Garbage (Snakes), a certain junky imagery from The Kills (More), intoxicating saxophone from the no wave movement and a shadowy vision from post-punk. You have to listen to this Qobuzissime on repeat to appreciate its originality and end up being enchanted by it. An album you simply can’t miss: Sorry, no excuses. © Marc Zisman/Qobuz
HI-RES€ 14,99
CD€ 9,99
LP1

House - Verschenen op 6 maart 2020 | Shall Not Fade

Hi-Res Onderscheidingen Qobuzism
Having produced several EPs over the past few years that have placed him firmly in the category of artists to keep an eye on, the eclectic and prolific Polish producer Bartosz Kruczyński aka Earth Trax has now released his first long format, with the rather understated name LP1. Originally noticed for his dreamy deep house created with his fellow countryman Newborn Jr (the alias of Adam Brocki) which attracted comparisons with trailblazing British group Orbital, Earth Trax displays his versatility, talent for arranging and the full spectrum of his electronic culture: acid house (Full Throttle, Pandora’s Box), electronica (Adhocracy), breakbeat (Squawk Box), drum’n’bass (Fade Away or the single I’m Not Afraid), ambient/psychedelic (Your Fading Other) and atmospheric deep house (the languid Mechanisms)... They are all coherently injected in one way or another into this project, a real demonstration of musical intelligence. © Smaël Bouaici/Qobuz
HI-RES€ 15,99
CD€ 13,49

Klassiek - Verschenen op 28 februari 2020 | Warner Classics

Hi-Res Booklet Onderscheidingen Qobuzism
The most striking aspect of these Preludes by Chopin undertaken by Eric Lu is the absolutely lyrical tranquility that dominates the forty-minute-long journey which is so arduous to build fluidly and coherently. Eric Lu deserves admiration for the expressive and polyphonic unity that he brings to the cycle, which is usually more contrasted. The American’s playing resounds as his phrases transport you on a grand, noble journey of emotion. Behind this soft façade is a somewhat more tragic melancholy, which increases over the course of the album and reveals the sombre, or at the very least anxious nature of the 24 Preludes. Chopin is at his darkest romanticism, not too far removed from the Schumann of the Kreisleriana (April 1838). It comes as no surprise that Lu continues his second recital for Warner Classics with one of Schumann’s strangest works, the Theme and Variations in E-flat major, composed in 1854 as a sort of swan song by the German romantic composer. In this tribute to masters of the past including Bach and Beethoven, Schumann risks using particularly stripped back polyphonies in rarefied pianissimo nuances; in doing so, Eric Lu creates a direct link with Chopin’s cycle, firmly remaining on the gentle and meditative side (Variations 2 and 5), without searching for any particular contrast. Placing fourth in the 2015 International Chopin Piano Competition in Warsaw, where he already impressed with his rendition of the 24 Preludes, the young American pianist Eric Lu (born in 1997) delivers a captivating recital on this album, sometimes bewildering, but definitely the most accomplished of the three already published − the first was released on German label Genuin. This is definitely a musician to be followed very closely. © Pierre-Yves Lascar/Qobuz
HI-RES€ 9,89€ 16,49(40%)
CD€ 7,19€ 11,99(40%)

Alternative en Indie - Verschenen op 28 februari 2020 | Heavenly Recordings

Hi-Res Onderscheidingen Qobuzism
From being “three weirdos in Halifax”, sisters Esmé and Sidonie Hand-Halford (bass and drums respectively) and their childhood friend Henry Carlyle Wade (guitar) have become the indie band to watch. “If I went to space, I might never come back”, confesses Esmé who provides solid bass and delicate vocals for The Orielles. After the drowsy, Stone Roses-influenced Silver Dollar Moment was released in 2018, this second off-the-wall record bounces from Turkish psych music à la Altin Gün to experimental Italian cinema, in order to further distance themselves from 90s guitar rock. Two years is a long time when you’re on the cusp of your twenties, leaving the relative quiet of Halifax, West Yorkshire to go on tour in Europe. In the elapsed time, The Orielles have seen the arrival of Alex Stephens to play keyboard, a “highly educational” cover of Peggy Gou’s It Makes You Forget (Itgehane) which opened them up to dance music and a remix by the late Andrew Weatherall of their track Sugar Tastes Like Salt. Recorded at Stockport’s Eve Studios with their producer Marta Salogni (Liars, Temples, Björk and The Moonlandingz), Disco Volador puts melody front and centre, turning old into new. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition”, says the drummer. Aerial 60s pop (Come Down on Jupiter), experimental disco (Space Samba (Disco Volador Theme)), 70s-style funk (Bobbie’s Second World, Euro Borealis), uptempo psychedelic (Rapid i, 7th Dynamic Goo) and Khruangbin-esque soaring tunes, it’s all top class. Bright, catchy and Qobuzissime. © Charlotte Saintoin/Qobuz
HI-RES€ 8,49€ 12,49(32%)
CD€ 5,99€ 8,99(33%)

Jazz - Verschenen op 14 februari 2020 | Exodus Records

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
The new British jazz scene seems to be an indefinite source of talent, maintaining its creative flow with this first solo album released by Moses Boyd. Fans of the movement will already know that this eclectic young drummer has played alongside Shabaka Hutchings, Zara McFarlane, Nubya Garcia, Joe Armon-Jones, Theon Cross and Ashley Henry but also that he makes up one half of duo Binker & Moses, the wild project he pursues with saxophonist Binker Golding. The album Dark Matter sees Boyd as more of a producer than a drummer, with a wide narrative detailing who he is and what he represents: a musician dreaming of becoming the next Max Roach or Tony Williams, all while growing up listening to Dizzee Rascal and Wiley as well as more Caribbean style rhythms, reggae and electronic music. The power of Dark Matter comes from the way in which it brings together a huge cast of varied icons to create a single snapshot of today’s London. Rich in sound, the album’s DNA is made up of jazz but takes us on a journey from afrobeat (BTB) to dubstep (2 Far Gone) before a detour via post-rock (What Now?). With the voices of Poppy Ajudha, Obongjayar and Nonku Phiri and double bass from the ex-Jazz Warrior Gary Crosby, Moses Boyd has created an orgy of off-the-wall rhythms. An album even more unclassifiable than those made by his friends of the same UK jazz scene. Invigorating. © Marc Zisman/Qobuz
HI-RES€ 14,99
CD€ 9,99

Ambient - Verschenen op 7 februari 2020 | Gondwana Records

Hi-Res Onderscheidingen Qobuzism
Sunda Arc, the project started in 2018 by brothers Nick and Jordan Smart (from folk/jazz band Mammal Hands) with the EP Flicker on Manchester label Gondwana Records (GoGo Penguin, Portico Quartet) takes its next big step by releasing its first full length album, which would not have appeared out of place in the Erased Tapes catalogue. Like Nils Frahm, the two brothers harmoniously blend electronics with acoustics and are obsessed with “finding the ghost in the machine”, a concept dear to Terry Riley. The ghost must be floating around Vespers, a beautifully ambient track to be listened to curled up in front of a fire, the closing piece of an album which is perfectly on trend, somewhere between Jon Hopkins, Max Cooper and Rival Consoles. But although the ambient contemplations have got a special appeal, the Smart brothers don’t recoil from a dancing atmosphere – without crossing the line into club music however – on the hypnotic Cluster, the obsessive Dawn (which reminds you of certain Caribou productions) and Daemon, a nod to Moderat. They also know how to go lighter, almost into pop, like on the single Hymn which demonstrates their ability to make this project evolve into something very promising indeed. © Smaël Bouaici/Qobuz
HI-RES€ 8,99€ 14,99(40%)
CD€ 6,59€ 10,99(40%)

Wereldmuziek - Verschenen op 24 januari 2020 | Real World Records

Hi-Res Onderscheidingen Qobuzism
Les Amazones d’Afrique is a pan-African supergroup created by singers Mamani Keïta, Oumou Sangaré and Mariam Doumbia in 2014: their agenda on this second album is both to fight for women’s rights and overturn the patriarchy. Amazones Power brings together divas from Mali (Mamani Keïta, Rokia Koné, Ami Yerewolo), Benin (Fafa Ruffino), Guinea (Niariu), Burkina Faso (Kandy Guira) and Algeria (Nacera Ouali Mesbah), and puts their vocal expertise together with modern arrangements concocted by Liam Farrell, better known under his alias Doctor L (Mbongwana Star, Bantou Mentale…). Hip-hop, afrobeat, dub and electro rhythms host ancestral and synthetic percussion, with both vintage and electric keyboards, frenzied guitars and powerful bass. Recorded between Bamako and Paris, mixed in Dakar, this bouncing and soul-filled manifesto also sees a few male sympathisers take to the mic, such as the rappers from the Parisian trio Nyoko Bokbae (Douranne “Boy” Fall and Magueye “Jon Grace” Diouk) on Heavy or the Malian reggaeman Koko Dembelé who features alongside Mamani Keita on Timbuktu and Dogon. A 5-star cast which produces a variety of ambiances, further reinforcing the militant purpose of Amazones Power. ©️ Benjamin MiNiMuM/Qobuz