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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

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Classique - Verschenen op 15 november 2019 | Alpha

Hi-Res Onderscheidingen Qobuzism
The final part of this intelligent and well-rounded triptych certainly deserves a Qobuzissime! It has been several years since we have been following this grandiose but relaxed duo, made up of violinist Lorenzo Gatto and pianist Julien Libeer. The Belgian pair have brought their complete collection of Beethoven’s sonatas for violin and piano to a close. There is a lot of spontaneity in this integral work, yet this freshness is not synonymous with offhandedness. On the contrary, the fruit of a well thought-out project, it unfolds as a thrilling story in three parts.The first volume opened like a stage curtain on this landmark of Beethoven with the iconic Kreutzer sonata, a strong score which trumps the expectations of the genre. The vehement drama of the first movement, slow and in a minor key, contrasts with the gentle nature of the second movement and confirms that the sonata is well and truly a format for two instruments on an equal footing and not just a support act to the piano, a Steinway in this instance.The second one delineated the milestones of an expanding genre. From the first to the last sonata, via the most popular nicknamed Spring, we bear witness to a general amplification of style. From Opus 12 to Opus 96, the form expands, the technical difficulty of playing increases and the light-hearted fun gives way to a more energetic rhetoric. For this second album, the duo chose the lustrous power of Chris Maene’s parallel-stringed piano. The instrument affords the necessary resonance to the interpretation of this sometimes outright zesty, sometimes tenderly subtle score.The third volume frames the Steinway’s radiance (Sonatas 6 and 7) with the more ample Maene piano (Sonatas 3 and 8) and is dedicated to the works conceived when the composer’s hearing began to falter. Paradoxically, this nightmare for Beethoven has brought about a gift for his listeners. Varied combinations of timbres, styles and character are constantly renewed in this cycle which Gatto and Libeer faithfully interpret throughout its entirety. Our award of recognition is also a retrospective on the first two milestones of this adventure which has valiantly held its promise. An important integral work to explore and encourage others to do so as well! © Elsa Siffert/Qobuz
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Duos - Verschenen op 15 november 2019 | Alpha

Hi-Res Booklet Onderscheidingen Qobuzism
The final part of this intelligent and well-rounded triptych certainly deserves a Qobuzissime! It has been several years since we have been following this grandiose but relaxed duo, made up of violinist Lorenzo Gatto and pianist Julien Libeer. The Belgian pair have brought their complete collection of Beethoven’s sonatas for violin and piano to a close. There is a lot of spontaneity in this integral work, yet this freshness is not synonymous with offhandedness. On the contrary, the fruit of a well thought-out project, it unfolds as a thrilling story in three parts.The first volume opened like a stage curtain on this landmark of Beethoven with the iconic Kreutzer sonata, a strong score which trumps the expectations of the genre. The vehement drama of the first movement, slow and in a minor key, contrasts with the gentle nature of the second movement and confirms that the sonata is well and truly a format for two instruments on an equal footing and not just a support act to the piano, a Steinway in this instance.The second one delineated the milestones of an expanding genre. From the first to the last sonata, via the most popular nicknamed Spring, we bear witness to a general amplification of style. From Opus 12 to Opus 96, the form expands, the technical difficulty of playing increases and the light-hearted fun gives way to a more energetic rhetoric. For this second album, the duo chose the lustrous power of Chris Maene’s parallel-stringed piano. The instrument affords the necessary resonance to the interpretation of this sometimes outright zesty, sometimes tenderly subtle score.The third volume frames the Steinway’s radiance (Sonatas 6 and 7) with the more ample Maene piano (Sonatas 3 and 8) and is dedicated to the works conceived when the composer’s hearing began to falter. Paradoxically, this nightmare for Beethoven has brought about a gift for his listeners. Varied combinations of timbres, styles and character are constantly renewed in this cycle which Gatto and Libeer faithfully interpret throughout its entirety. Our award of recognition is also a retrospective on the first two milestones of this adventure which has valiantly held its promise. An important integral work to explore and encourage others to do so as well! © Elsa Siffert/Qobuz
HI-RES€ 13,49
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Alternatif et Indé - Verschenen op 1 november 2019 | Stones Throw

Hi-Res Onderscheidingen Qobuzism
More than 10,000 kilometres separate Khartoum and Cleveland. A distance erased in one fell swoop by Brittney Parks, aka Sudan Archives, on her magnificent first album, Athena. At 24 years old, the self-taught American who grew up in Ohio builds some unlikely yet strong bridges between the sounds of the continents. And her contemporary, languid and dreamy soul is unlike any other… The violin, prevalent in the Sudanese music which she admires so much, is her tool of preference. It’s a sound that she meshes together with electro and some light hip hop beats. In 2016, Sudan Archives even covered Kendrick Lamar’s King Kunta (re-baptised Queen Kunta) using just her voice, the violin and an effect pedal. Her unusual musical fusions were conceived from a revelation the Los Angeles-based artist had while listening to recordings by the Cameroonian Francis Bebey, an artist who himself blended African music with minimalist electro. On Athena, released on Stones Throw, the excellent Californian label started by Peanut Butter Wolf which specialises in underground rap and kooky funk, Sudan Archives certainly draws on the legacy of the queens of underground soul (Erykah Badu, Solange) all the while retaining her originality. And her futuristic afro-R&B, which has layers upon layers of different sounds, shows enough avant-garde talent to make her stand out from the crowd. A shock, but a sweet one. © Marc Zisman/Qobuz
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Cantates sacrées - Verschenen op 11 oktober 2019 | Château de Versailles Spectacles

Hi-Res Booklet Onderscheidingen Qobuzism
Bach celebrated his first Christmas in Leipzig (1723) in style. On the morning of 25 December, his cantata Christen, ätzet diesen Tag, BWV 63 resounded in the church of Saint Thomas. It opens and closes on a great choir, a perfect prelude to the Magnificat, BWV 243A played at afternoon vespers. The young conductor Valentin Tournet (23 years old!) is particularly interested in the lesser- known aspects of Bach's great works. And so for his ensemble's first release, he has chosen to record the first version of the Magnificat. Written in E-Flat Major, a great key for horns, this score prefers recorders, with their pastoral timbre, to traverso flutes. Much less-played and - recorded than the revised version of 1743 (in D Major and numbered BWV 243), this score is offered here alongside four laude for the Nativity. Valentin Tournet brings courage and talent to these works and presents us with a particularly brilliant version, thanks to well-made, judicious choices. A viol player, he is sensitive to the vital energy which the cello unleashes, provided that it isn't overpowered by the organ (a positive organ has been selected for this reason). The piece's élan is all the greater because the soloists don't restrict themselves to their own arias, but mix with the choir. The continuity is total, and the emotion is truly collective. © Elsa Siffert/Qobuz
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Quatuors - Verschenen op 11 oktober 2019 | Aparté

Hi-Res Booklet Onderscheidingen Qobuzism
Six quartets that are key to understanding what Joseph Haydn brought to the history of western music. This effort by the Quatuor Hanson is particularly successful because they know how to construct and express the quintessence of this subtle art. And what's more, they bring it off with a fascinating level of instrumental skill. Listening to this piece, we have to bow down once again before the genius of a composer who, along with Boccherini, invented a new genre and immediately studded it with masterpieces of staggering quality. Its title, All shall not die, is the international translation of the Latin epigraph engraved onto Haydn’s tombstone (non omnis moriar). The choice of this phrase indicates the permanence and universality of Haydn's body of work. Judiciously picked out from among Haydn's vast corpus, these six quartets are touching both in their expressiveness and in the perfection of their writing. Not a single note out of place, a perfect balance of four voices and an inspiration at every moment. The closing Opus 77, left unfinished, was a contemporary of Beethoven's first Quartets, Opus 18 – works that betray the lessons their writer learned from his master.More than two hundred years after his death, Haydn has only just found recognition as one of the greats, a status denied him in life. More than a forerunner, Haydn is a founder, a genius whose influence was felt by those who came after him, foremost amongst whom Beethoven and Schubert. This splendid album puts him (back) in his rightful place. © François Hudry/Qobuz
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Pop - Verschenen op 20 september 2019 | Verve Forecast

Hi-Res Onderscheidingen Qobuzism
The American dream is an inexhaustible subject. It is approached head-on, sideways, from behind, above and below. It is the ultimate fuel for hordes of songwriters; even when they weren’t even born in America. As is the case for J.S. Ondara. This young Kenyan, who his label calls "the link between Tracy Chapman and Michael Kiwanuka" (an easy claim but not wrong), went there to try his luck. In 2013, Ondara dropped anchor at his aunt's house in Minneapolis. Having only previously known his native Nairobi, the musician took his songs into bars, clubs and even out onto the street, equipped with only his voice and a simple acoustic guitar, perhaps in the hope of becoming a third millennium Bob Dylan. The Dylan of The Freewheelin', his favourite record; Springsteen's Nebraska also being one of his top picks... But to limit himself to cloning those giants wouldn’t be very interesting. And Tales of America avoids that. First of all, J.S. Ondara has his own voice. His plaintive tone is a little androgynous and makes him truly unique. On the instrumental side, he adds some more daring flavours with the help of the great Andrew Bird, Griffin Goldsmith from Dawes and Joey Ryan from the Milk Carton Kids duo. In a divided America and a crisis-riddled world, J. S. Ondara's songs are more than just bandages, they’re powerful balms that penetrate the skin and warm the heart. This is a Qobuzissime that we needed... © Marc Zisman/Qobuz
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Alternatif et Indé - Verschenen op 20 september 2019 | Columbia

Hi-Res Onderscheidingen 4F de Télérama - Pitchfork: Best New Music - Qobuzism
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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Jazz - Verschenen op 6 september 2019 | Sony Music CG

Hi-Res Onderscheidingen Qobuzism
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Alternatif et Indé - Verschenen op 16 augustus 2019 | Human Season Records

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
Could Dublin be at the center of another post-punk earthquake? Following in the footsteps of Fontaines D.C and Girl Band, with whom they shared a rehearsal space, here come The Murder Capital’s 5 Irishmen and their urban claustrophobia. They’re post-apocalyptic, tender, furious and emotional. Taking from the likes of Joy Division, The Cure and Fugazi, their first album is titled “When I Have Fears” after the famous John Keats poem.  As always, frontman James McGovern has a calculated approach when it comes to his band: “It would be too easy for us to write an album of ten punk songs at 170 bpm; we could deliver that. It’s a reflection of what’s inside our heads and there is no way we can be angry for that amount of time”. At the heart of that nuanced manifesto, equal amounts brooding romanticism and angry outbursts are the channels for McGovern’s socio-political concerns. He traces When I Have Fear’s inception to a traumatic event: “I had a very close friend of mine take his own life in February and we wanted to reflect the neglect held towards mental healthcare in Ireland. Unnecessary deaths happen due to neglect from the State, or from general emotional intelligence from our society. My friend simply couldn’t afford the help he needed.” The baritone drew from the Emerald Isle’s vast literary tradition in order to paint a scathing portrayal of youth communities plagued by binge culture. His message is underlined by razor-sharp arrangements that verge on the minimal. Their simplicity contributes to the sinister sense of urgency in many of the songs. Nonetheless, Diarmuid Brennan’s hyperactive drumming – listen to those hi-hats! – on Don’t Cling To Life, as well as the piano and the somber growls on How The Streets Adore Me Now demonstrate that the band is more than capable of going beyond the formal frameworks set in place during the early-2000s post-punk revival. When I Have Fears is 100% a Dublin record, transcending the cold and the misery without ever giving up on sincerity and power – A thunderous and sensitive Qobuzissime. © Alexis Renaudat/Qobuz
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Alternatif et Indé - Verschenen op 19 juli 2019 | Mr Bongo

Hi-Res Onderscheidingen Qobuzism
Anatolian lo-fi samba, sung in English, French and Turkish! With such a colourful program, Mantra Moderne is poised to be summer 2019’s most iconic album. This indie-world soundtrack is the lovechild of duo Kit Sebastian. Kit Martin, the one-man-bedroom-band, lives between London and Paris, writing and performing the songs on this first album over which his accomplice Merve Erdem lays her voice. The singer from Istanbul cast her anchor in the British capital. These days it seems unexpected stylistic fusions are all the rage, and Mantra Moderne is the flag bearer for that trend. From Brazilian tropicalism to 60s British pop, and turkish psychedelics to analog electronica, Kit Sebastian like to sift through 20th century music just as Stereolab, Broadcast and Khruangbin did before them. Their cabinet of curiosities includes acoustic and analog instruments, tablas, darbukas, a balalaïka, an oud, a Korg MS-20 and a Farfisa organ. The pair crafts a deliciously minimalistic symphony. It’s mischievous, and oh-so-sixties: The most exotic Qobuzissime of the year! © Marc Zisman/Qobuz
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Électronique - Verschenen op 5 juli 2019 | Transgressive

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
After two EPs and a breakthrough European tour, this Kinshasa combo now face their biggest challenge yet: a full-length album. KOKOKO! consists of two DIY musicians (with instruments made from cans, typewriters and junkyard scrap), the vocalist Makara Bianco also known as the Lingwara Devil, as well as French producer Xavier Thomas, aka Débruit (author of the mini-hit Nigeria What?) who was immediately attracted by their “experimental side”. He says, “It’s not your stereotypical African music. They want to break with the past and the traditional Congolese rumba. There are no limits, they’re not afraid of anything”.It’s this freedom and creativity born from constraint that can be heard in Fongola, with its sonic collision of polyrhythms, Western harmonies, guitars and mbiras, jerry cans and a TR-808. The formula is designed for live performances, but it is just as effective here: street samples, a 4/4 techno beat, catchy lyrics and earthshaking base lines all have an entrancing effect. The album was recorded in makeshift studios in Kinshasa and Brussels and was then put together in Anderlecht by Débruit, who describes it as “a giant electronic puzzle with no blueprint and pieces that don’t fit”. He couldn’t have put it any better - by combining so many sounds and letting them clash together, KOKOKO! have achieved a state of permanent chaos. And that’s exactly what makes this project so exciting. © Smaël Bouaici/Qobuz
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Alternatif et Indé - Verschenen op 14 juni 2019 | Heavenly Recordings

Hi-Res Onderscheidingen Qobuzism
Lost in the middle of a beige factory, Ms. Brown stands tall. The well-designed album cover is both clever and visually arresting. By day, this young woman is a graphic designer at MailChimp. “It’s like I have two full-time jobs: designer and musician,” she says, but we certainly prefer her as a musician by night. Under her work uniform, Mattiel (pronounced Ma-Teel) Brown hides a voice with a fierce and impolite tone. She grew up in the vast countryside of Georgia – from where this brusqueness and thick skin probably originated – before moving to the more urban Atlanta. It was here that Mattiel met Randy Michael and Jonah Swilley, with whom she would start writing what would go on to be the basis of Satis Factory. They managed the instrumental compositions, while she took care of the lyrics.It's a perfect formula that works beautifully. The riffs are catchy (Je Ne Me Connais Pas), the melodies are heady, and there’s this distinctive personality that the Burger Records team are very used to sniffing out. Mattiel brings back ‘60s folk with accents of surf pop, old-fashioned blues and vintage soul. A balanced blend of influences, among which she cites Screamin’ Jay Hawkins, André 3000, Marc Bolan, the Staple Singers and Jack White. Very promising. © Charlotte Saintoin/Qobuz
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Lieder (Allemagne) - Verschenen op 31 mei 2019 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Diapason d'or - Gramophone Editor's Choice - Qobuzism
Born in a small Norwegian village in 1987 (and is thus inevitably compared to her long-time compatriot Kirsten Flagstad), soprano Lise Davidsen was almost built to embody Wagnerian and Straussian heroines. For her first record under the label Decca, with whom she has signed an exclusive contract, she has chosen to present several facets of femininity in the vocal stylings of Elisabeth (Tannhäuser), Ariane (Ariane à Naxos) and… Pauline. Pauline being Richard Strauss’ beloved wife to whom he dedicated many Lieder from his opus 27 - the 1894 cycle offered to his wife as a wedding gift - until the last Vier letzte Lieder in 1948.Under the supple baton of Esa-Pekka Salonen, the Philharmonic Orchestra embraces the brassy voice of the Norwegian soprano with finesse and elegance. As you will see, this record, with its carefully devised programme, oscillates between youth and old age, in the presence of ghosts and death. You may wonder how one can express mortality at just 30 years old with such a powerful timbre, radiant health and a whole life ahead of you. The answer lies in Lise Davidsen’s voice, which upsurges as if it were a promise of immortality, the music of the last Strauss piece returning one last time to its past, to a Europe in ruins.Discovered in 1984, after the death of the singer and dedicatee Maria Jeritza, Malven (“The Mallows") is Richard Strauss’ true “last song”. Lighter in tone than the Vier letzte Lieder to which it might have belonged, it is presented here in an orchestration by Wolfgang Rihm. © François Hudry/Qobuz
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Soul - Verschenen op 10 mei 2019 | Jagjaguwar

Hi-Res Onderscheidingen Pitchfork: Best New Music - Qobuzism
What is my purpose? What will come of the legacy of those who have influenced me? And what will I leave behind? These are all the big questions that Jamila Woods asks herself going into her second album suitably named Legacy! Legacy!, a Qobuzissime album! Three years after the release of Heavn, the soul sister from Chicago brings together twelve songs all named after the artists that influenced them. Musicians, painters, writers, activists, poets, they’re all there! And the lucky few are: Betty Davis, Zora Neale Hurston, Nikki Giovanni, Sonia Sanchez, Frida Kahlo, Eartha Kitt, Miles Davis, Muddy Waters, Jean-Michel Basquiat, Sun Ra, Octavia Butler and James Baldwin. There is nothing obvious or didactic here as the young African-American who is ever-so attached to her native Chicago never does out-and-out covers but less subtle “in the style ofs” all while retaining her own distinct style. A poet one day (she acts as artistic director for YCA, a center dedicated to young poets) and a musician the other, she is even a teacher on bank holidays! As the worthy heir of Erykah Badu and Lauryn Hill, all her words are wrapped around ultra-slick grooves with a modernized nu-soul twist. When it comes to features, Jamila Woods helps her local economy by inviting along friends that, for the most part, come from the underground scene of the Windy City: the trumpetist Nico Segal, MC Saba, Nitty Scott, theMIND, Jasminfire. Chance the Rapper’s protégé has mixed intelligence and class, commitment, enjoyment and groove into 49 minutes. Perfect. © Marc Zisman/Qobuz
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Jazz contemporain - Verschenen op 26 april 2019 | Sekito

Hi-Res Onderscheidingen Qobuzism
No point in checking if Alfa Mist has read all of Roland Barthes, the guru of structuralism... Behind his keyboards, the Brit designed his album Structuralism with a more modest objective: “I have been affected by my environment. My upbringing has shaped me in a way where I do not know how to communicate. Structuralism is about, “I am who I am” because of the structure of society I grew up into. Now I need to learn how to communicate.” What Alfa Mist communicates very well with his second album is an innate sense of soft groove and a vital need for exchange. Yet another proof of the strength of today's British jazz scene, which flourishes in soul, funk and hip hop, the latter being the first chapter of the young musician's saga.After spending his days making beats for grime and rap prods, the Londoner discovers jazz through samples and decorates both J Dilla's albums and those of Miles Davis and even Hans Zimmer-composed soundtracks, one of his great idols. Above all, Alfa Mist is self-taught and immersed in the world of piano and keyboards. With Structuralism, he draws, with the help of a Fender Rhodes and a classical piano, the contours of a melancholic and voluptuous soul jazz. An atmospheric groove under influenced by Herbie Hancock/Robert Glasper, which he sculpts with his collaborators Johnny Woodham the trumpeter, drummers Peter Adam Hill and Jamie Houghton, guitarist Jamie Leeming, bassists Kaya Thomas-Dyke and James Rudi Creswick, violinists Katie Neaves, Simmy Singh and Lucy Nolan and cellist Peggy Nolan, not forgetting Jordan Rakai on the song Door. All in all, this pastel-tinted score (no slapped bass or double drums for Alfa Mist!) confirms the talents of a musician that’s certainly one to watch. © Marc Zisman/Qobuz
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Jazz - Verschenen op 26 april 2019 | Enter The Jungle

Hi-Res Booklet Onderscheidingen Qobuzism
In early 2018, the compilation We Out Here released on Gilles Peterson's label burst onto the young British jazz scene, revealing his dynamism, his energy and above all, his eclecticism. Many attribute saxophonist Shabaka Hutchings (Sons of Kemet, The Comet is Coming, Melt Yourself Down...) as the leader of this trend: a role he has always refused to embody. The boundaries of this jazz, as with musicians of this generation, are deliberately blurred, and the five members of Ezra Collective were all present on this Qobuzissime compilation. With You Can't Steal My Joy, the London group led by drummer Femi Koleoso finally signed their first album. In 2017, their EP Juan Pablo: The Philosopher (which closed with a beautiful cover of Sun Ra's Space is the Place) was a sensation, winning numerous awards and offering a very Afrobeat vision of jazz. These unique qualities can be found on this ultra-funky opus. With Joe Armon Jones on keyboards, TJ Koleoso on double bass, Dylan Jones on trumpet and James Mollison on saxophone, Koleoso orchestrates a refreshingly festive symphony focusing on brass and rhythms: a hybrid made of afrobeat, jazz, hip hop, reggae, Caribbean music and soul. And to better reflect this panoramic vision, Ezra Collective goes on this multi-colored journey with soul sister Jorja Smith (Reason in Disguise), rapper Loyle Carner (What Am I to Do?) and the afrobeat group Kokoroko (Shakara). All that's left is to enjoy this beautiful, eclectic parade of groovy landscapes. © Marc Zisman/Qobuz
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Alternatif et Indé - Verschenen op 12 april 2019 | Partisan Records

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
Having barely recovered from Songs of Praise - the first album and Qobuzissime of the London band Shame - the eyes of rock’n’roll are looking further north, to Dublin. Here, an equally raucous band called Fontaines D.C. are fighting tooth and nail to show that the post-punk revival is most certainly still alive and kicking (and punching). If Fontaines D.C.’s debut album, Dogrel, has its roots in familiar ground (The Fall, Joy Division, Gang of Four, Public Image Ltd.), the fertiliser is most certainly different. This album oozes a quintessential Irish sensibility, one that cries out for a picture-postcard Dublin that’s been wiped out by globalisation and gentrification. Dogrel ends with Dublin City Sky, an acoustic ballad that could have been taken straight out of a Pogues album - The Pogues being Fontaines D.C.’s favourite band - evoking the smell of old pubs and freshly pulled pints of Guinness. Grian Chatten's band also has the distinction of honouring literature and poetry just as much as rock'n'roll and folk music. The result is an intelligently crafted pure post-punk record. That is the strength of Dogrel. Unapologetically literate, angry and always audible. On Big, Chatten sings “my childhood was small, but I’m gonna be big”. With Dogrel, Fontaines D.C. are quickly heading towards becoming exactly that. © Marc Zisman/Qobuz
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Messes, Passions, Requiems - Verschenen op 5 april 2019 | Signum Records

Hi-Res Booklet Onderscheidingen Qobuzism
This spectacular new release of Maurice Duruflé’s complete choral output uncovers hidden gems of French classical music. Infused with modal harmonies and plainsong, Maurice Duruflé's choral works look back to Gregorian chant. The composer also found inspiration in the likes of Gabriel Fauré and Claude Debussy, incorporating definite lines and close harmonies into his music, and the result is astonishingly simple. His works were part of a whole stylistic movement in the 20th century (one that was far removed from neoclassicism) that tried to trace music back to its origins, separating itself from all the trappings of theatre and performance, and moving away from the highly abstract tendencies that characterised much of the music in the post-war period. Is Gregorian chant the “mother” of all music? Quite possibly. Duruflé aimed to create a serene, gentle mood all the while echoing a contemporary trend, one that was still emerging yet already rather developed, centred around harmony and floating atmospheres in the hope of bringing people together in communion. With little to show by way of recordings yet much by way of talent, the Houston Chamber Choir give a beautiful performance of the French composer's works. Their radiant singing is well worth discovering, made all the more breathtaking by the generous acoustics of the Edythe Bates Old Recital Hall at Rice University, which allow the conductor Robert Simpson to use broad phrasings. The conductor adds an especially touching quality to these naturally expressive works, making this recording – which is as moving as the composer's earlier recordings (Erato) - an ideal gateway into Duruflé’s hypnotic universe (Messe “Cum Jubilo”). It should be noted that despite his relatively long life, Duruflé’s composed only fourteen works. His final composition Notre Père (which lasts just ninety seconds!) was written especially for the Catholic Church though was never performed due to its sheer difficulty. This modest number of compositions reflects Duruflé’s crippling self-criticism and continuous search for perfection. This Houston Chamber Choir recording is a wonderful opportunity to rediscover one of the best kept secrets of the 20th century. © Qobuz
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Alternatif et Indé - Verschenen op 22 maart 2019 | ATO Records

Hi-Res Onderscheidingen Pitchfork: Best New Music - Qobuzism
Witness a masterpiece coming from a young London native who says she learned the guitar by copying songs from the Libertines.. At home, her Dad would listen to Turkish folk, while Mum would listen to classical music, Simon & Garfunkel and Cat Stevens. For her own personal Holy Trinity, Nilüfer Yanya has chosen Nina Simone, Amy Winehouse and the Pixies. What a treat! Nilüfer Yanya’s music is turning rock and soul into the sublime with raw energy and impudence. Miss Universe, her first album, relies on the elegant fusion of her influences: a blend of the records she listened throughout the years. Even the album’s structure is perfect with infectious hits made up of catchy choruses (In Your Head), sensitive but not overly sentimental ballads (Monsters Under the Bed), experimental pop (Paradise), minimalist R&B (Safety Net) and a thousand other delights. Above all, there is a freshness that refuses to conform to the confines of modern-day rock and pop. With this much musical charisma, this wide a vocal spectrum and such maturity of writing at only 23 years old, Nilüfer Yanya is well worth a Qobuzissme! © Marc Zisman/Qobuz
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Chanson française - Verschenen op 22 maart 2019 | Wagram Music - Cinq 7

Hi-Res Booklet Onderscheidingen Qobuzism
Malik Djoudi’s second album (after Un in 2017) forms a perfect summary of French electronic music, with beautifully bare arrangements (Essentiel) often combined with an up-tempo rhythm (Aussi Jolie, Belles Sueurs), as well as intimate and poetic lyrics revealing the various sides of the singer’s temperament, while also addressing the anxieties and hopes of a generation. With his androgynous voice, Djoudi sings about the night (Épouser la nuit), an imaginary journey (Train de nuit) and madness (Folie douce), all on captivating melodies only he has the secret to. While neurasthenic guitars and synthetic, icy and hypnotic layers are the singer's favorite sounds, he sometimes invites other instruments into his little world, often in the form of familiar and comforting samples (the brass of Dis-moi que t'y pense).