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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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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
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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
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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
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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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Pop - 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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Alternative en Indie - 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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Alternative en Indie - 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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Alternative en Indie - 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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Alternative en Indie - 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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Alternative en Indie - 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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Alternative en Indie - Verschenen op 22 maart 2019 | Sub Pop Records

Hi-Res Onderscheidingen Qobuzism
The album cover is intriguing; Stetson on his head, mask over his eyes and tasseled veil on the mouth. Orville Peck comes across as yet another ‘masked avenger’, camouflaged, helmeted, hidden, ready to join Daft Punk, Cascadeur, The Residents, MF Doom and other SBTRKT. Basically, the man has the appearance of a cowboy escaped from one of David Lynch’s dreams. He’s a kind of improbable version of the Lone Ranger, the fictional character who appeared in a radio soap opera in 1933, then in a television series fifteen years later: A true icon of American pop culture ... When Peck finally opens his mouth, his voice is that of a timeless crooner. There is a touch of Elvis, Roy Orbison, Chris Isaak, Lloyd Cole and Marlon Williams in this typical lover-voice that Orville Peck never overdoes. With Pony, his debut album and Qobuzissime under the excellent label Sub Pop, this mysterious man of unknown origin and unknown age, connects staggered romantic ballads and dreamy laments. Great songs are draped in production where reverb, twang guitars, cotton drums and impressionist steel-guitar reigns. It’s like country and shoegaze after a torrid night of love. Broken hearts, deserted motels, infinite highways and faded western landscapes, this is a beautiful record that reveals Orville Peck to be the talented painter of a fascinating picture. All that’s left to do is close your eyes and dream with him. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 8 maart 2019 | Alice Phoebe Lou

Hi-Res Onderscheidingen Qobuzism
With her long blond hair and sullen expressions, Alice Phoebe Lou is stunning. But beyond just her soft-sounding name and striking looks, what truly makes her stand out is her crystalline voice that slides from high to low frequencies with mind-blowing ease. Originally from Cape Town, the singer-songwriter’s wanderlust led her to Amsterdam, Paris and Berlin in her late adolescence. Attracted by the exotic feel of the German capital, the young Alice decided to move there permanently, making a living from busking. Before bringing out her debut album Orbit in 2016 (a beautiful record of stripped-back jazz and folk), the young vagabond would parade her music around the city’s bars, parks and streets."No rules, no rules" she sings on Something Holy - a maxim that also applies to her music. In the same vein as Orbit, this second album takes us to another galaxy, one that’s composed of Alice’s dreamy folk, blues and jazz vocals. Allowing the voice to breathe, Paper Castles comprises ten lightweight tracks, which are infused with soft, shimmering synths. With discreet guitars, soft xylophones (Ocean), soaring vocals (Red), tinkering notes (Fynbos), ethereal productions and slow tempos (Galaxies), everything seems touched by Alice's grace. Wonderful. © Charlotte Saintoin/Qobuz
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Pop - Verschenen op 15 februari 2019 | Verve Forecast

Hi-Res Onderscheidingen 4F de Télérama - 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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Alternative en Indie - Verschenen op 26 oktober 2018 | [PIAS] Le Label

Hi-Res Onderscheidingen Qobuzism
A dandy Englishman with a nonchalant voice, a pioneer of French Touch, and a riot girl. This surprise autumn collaboration is brought to us by Baxter Dury, Étienne de Crécy and Delilah Holiday. The story began at the end of 2017 when Baxter Dury, looking for something to do in Paris, sent a text to De Crécy to ask him if he had any instruments lying around. Then, after a few trips between Gare du Nord and Saint-Pancras, two became three with the addition of the Londoner from Skinny Girl Diet, who had shown a real knack for Soul/R&B on her first mixtape (Lady Luck Vol.1) in the spring of 2018. The trio spent any free time they had in De Crécy’s studio, sticking to a simplistic style similar to that of Sleaford Mods. The the final result is "an underdeveloped mutant child of the 80s" according to Dury.Étienne de Crécy removed any frills and provided his two collaborators with demo like material, most of it synth-pop productions stripped down to a bass-line, a well mixed drum machine and a piano. It definitely works: the single White Coats proves that you don’t need that much to make a good song, as long as you have good singers. Throughout this record its the vocals that create the atmosphere, Baxter Dury’s serious and indolent tones responding to Delilah Holiday’s soulful voice, without which the record would’ve been a bit dull. "Étienne created the musical foundations for this confession story and Delilah pushes it towards something a bit more emotional" said Dury. "It’s an unlikely mix that works because it’s short, sweet and honest." © Smaël Bouaici/Qobuz
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Alternative en Indie - Verschenen op 26 oktober 2018 | CRYBABY

Hi-Res Booklet Onderscheidingen Qobuzism
Francis Mallari, Elliot Berthault, Maxime Gendre, Simon Dubourg, Guillaume Rottier: five lads making beautiful, violent French post-punk. Rendez-Vous have something of a fresh Eighties chill flavour. And they don’t sound French. From Fad Gadget to Soft Moon, the quintet blends together a huge range of influences, without ever falling into imitation. After two EPs, Rendez-Vous in 2014 and Distance in 2016, the Parisians have dug deep into the blackness of a punk style that's dark but fine, elegant and worn, and never too gritty. This is a classy and romantic rendez-vous in black and white. The group are held together by a strong spine made up of Francis' rough and husky voice, the choppy guitar and busted synths and above all the intense, unwavering bassline (Sentimental Animal, Paralyzed) which creates a rhythm that's certainly upbeat but not rushed: Superior State says it all: from the first track, until the final bow. Excellent. © Charlotte Saintoin/Qobuz
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Alternative en Indie - Verschenen op 19 oktober 2018 | Communion Group Ltd

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
It wouldn't be right to reduce Tamino-Amir Moharam Fouad simply to an heir of Jeff Buckley with hints of Radiohead from their earlier years. The Belgian songwriter, only 21 years old, offers much more than that on his first album, even if Colin Greenwood, the bassist from Radiohead, does feature on the album... Tamino, an Antwerp-native and John Lennon-admirer, has always kept his Egyptian origins preserved in a corner of his head, under his jet-black mane. The Arabic music that his mother played at home must have been all the more influential when it was the work of Muharram Fouad, his singer-actor grandfather, a star in Cairo in the sixties... This eclecticism is at the heart of Tamino's music, which owes as much to Buckley folk music as it does to Beatles pop and even to the nonchalant melancholy of Leonard Cohen, another one of his idols. To fuse these disparate influences, the mysterious young man possesses a deadly weapon: his voice. It’s an equally versatile organ, capable of stretching slowly and transforming itself into a stunning falsetto, an impressive technique that he never abuses. It is this voice that transforms Amir into a long and poignant novel. A coming-of-age story that alternates between the dreamer (the pure folk on Verses) and the lyrical poet as on So It Goes, Each Time and Intervals, conceived around a section of Arabic strings. A Qobuzissime album that’s oozing with original and touching poetry. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 12 oktober 2018 | Kitsune Musique

Hi-Res Booklet Onderscheidingen Qobuzism
The story of Parcels is both a childhood dream and a wonderful human adventure. Formed just four years ago, for what is the “first real band” for each of its members, the quintet (music-lovers and Steely Dan-addicts) quickly sold out their first concerts in Byron Bay, a surfing spot on the East coast of Australia. But despite being half a world away, the smell of Berlin nights lured them over to try their luck in Europe. Good move: the international music hub that is the German capital lead them to a signing with the Parisian label Kitsuné. After two EPs where they demonstrated their compatibility, Thomas Bangalter came to congratulate them and give them some advice following a concert in Paris, producing their single Overnight a few months later.Now equipped with Daft Punk’s totem of protection, the Aussies have launched their debut album with an emphasis on the collective – symbolised by the title of the album, Parcels – a pop-funk wave that sounds like an album by The Beatles with Nile Rodgers on the guitar. Amongst these twelve tracks (three of which have already turned heads: Tieduprightnow, Bemyself and Lightenup), you realise that this group really is a group in the true sense of the word and that these guys love nothing more than jamming out. The lyrics on Lightenup were written collectively – proof that Parcels plan to head down this road together (or at least that their lead singer isn’t a complete megalomaniac). And as long as they keep their spirits up this high, nothing will stop them from cruising on down this sunny highway. © Smaël Bouaici/Qobuz
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Alternative en Indie - Verschenen op 31 augustus 2018 | Jazz Village

Hi-Res Booklet Onderscheidingen 4F de Télérama - Qobuzism
Dying today. In Creole, mo jodi. The title says it all for Delgres’ first album, an impeccable trio that could easily be compared to what would happen if the Black Keys dropped their anchor in the Antilles… Delgres for Louis Delgrès, an abolitionist infantry colonel born in Saint-Pierre, famous for his anti-slavery proclamation, a high point of Guadeloupe’s resistance against Napoleonic troops who wanted to restore the slave trade. When Louis Delgrès and his 300 men realised all was lost when faced with Bonaparte’s soldiers, they decided to commit suicide using their explosives, by virtue of the revolutionary emblem live free or die… However, this historic name doesn’t constrain Pascal Danaë, Baptiste Brondy and Rafgee to only be a “band with a message”. Delgres proudly waves its name and the ideals that go with it, but focuses first and foremost on making rock with a touch of garage, fed with some primitive blues, raw soul music and sounds from New Orleans. Combining dobro guitar, drums and sousaphone – an atypical tuba popular in the carnival fanfares of the Antilles and New Orleans −, the trio assert their originality. In his writing too, Danaë goes back and forth − with great ease − between Creole and English, blurring the lines between his influences, which he has always treated with taste throughout his long career (he was for instance involved in Rivière Noire, best World Music album at the 2015 Victoires de la Musique). A stylistic kaleidoscope, illustrated by the ballad Séré mwen pli fo, sung in duo with Morcheeba’s Skye Edwards. In its edgier moments as well as nostalgic and absorbing sequences, Mo Jodi talks about History, but also hope, and builds bridges between continents and centuries to create a blissful journey of rock’n’blues’n’soul that will take you by the guts! © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 8 juni 2018 | Easy Eye Sound

Hi-Res Booklet Onderscheidingen Qobuzism
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Alternative en Indie - Verschenen op 18 mei 2018 | Marathon Artists

Hi-Res Onderscheidingen 4F de Télérama - Qobuzism
Courtney Barnett’s second studio album is as magnificent as it is simple. But not simplistic, no, just simple. The young Australian creates a rock’n’roll of an almost disarming purity and clarity. For the simple reason that the songs presented here are absolutely brilliant. Indeed, songs. That “detail” that can make or break an album… Just like the compilation of her first two EPs ( A Sea of Split Peas), her first album (Sometimes I Sit And Think, And Sometimes I Just Sit), and her duo album with Kurt Vile (Lotta Sea Lice), this Tell Me How You Really Feel strings together ten trips that perfectly blend cynical humour and sincere confession. Most importantly, Courtney Barnett appears more introspective than in years past. And because things are firing on all cylinders for her, both in her career (with an impressive critical and popular success on the global stage) and personal life (she’s been sharing her life with her peer Jen Cloher for quite a long time now), it becomes clear that the Australian artist took her time to polish perfectly each of these ten compositions. Even more impressive as she combines well-worn themes (her loves, anxieties, frustrations and opinions) while never sounding cliché. As per usual, Courtney Barnett wraps her prose in an impeccable indie rock on the guitar, that never feels overproduced. She’s been influenced by big names such as Lou Reed, Kurt Cobain, Neil Young and Jonathan Richman, including a collaboration on two tracks with the Deal sisters, Kim and Kelley, from The Breeders. What was Neil Young saying again on his famous Hey Hey, My My? Rock’n’roll can never die? © Marc Zisman/Qobuz