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1117 albums gesorteerd op Date: from newest to oldest
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Alternative en Indie - Verschenen op 4 september 2020 | False Idols

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A shadowy figure in the truest sense of the word, Adrian Thaws a.k.a. Tricky has never found the light switch. On Ununiform (2017), the British artist who has been based in Berlin since 2015 reminded us that he is still one of the most gifted painters of the human soul’s darkness. This master of trip-hop is all too familiar with it. He was orphaned at a very young age, was convicted not much later and his only daughter, Mina Mazy, committed suicide in 2019 at the age of 24. Tricky, now in his fifties, continues to do Tricky. But he doesn’t stop there. On Fall Please, the first single from his 14th album Fall to Pieces, he layers his jet black world on a groove that he says he inherited from go-go music, a subgenre of funk originating from Washington in the seventies. “I’ve managed to do something I’ve never been able to do before. It’s my version of pop music, the closest I’ve got to making pop”. Elsewhere Tricky skilfully blurs the tracks, interrupting a song without warning or following a minimalist and oppressive sequence (Close Now) with a melancholic beat (Thinking Of) or a deceptively playful song (Running Off). As always, female vocals are at the heart of his creations. This time it’s the voice of an unknown Polish woman, Marta Złakowska, who he met during his last European tour and hired on the first night, in Krakow, as a backup singer. “I can tell when someone is humble and down to earth. Martha doesn’t care about being famous, she just wants to sing.” Between pure new wave and haunting trip hop, Fall to Pieces brings together more snippets of songs than truly completed compositions (Hate This Pain, Vietnam). A strange but never unpleasant feeling. Fall to Pieces is another MRI scan of the brain of a complex musician who feeds here more than ever on his inner suffering. © Marc Zisman/Qobuz
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Folk - Verschenen op 4 september 2020 | Drag City Records

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In 1999, at a time when he was a nervous wreck and singing under the name Smog, Bill Callahan opened his Knock Knock album with a song called Let's Move to the Country. It was about stopping travelling and moving to the country, “just you and me”. At the end of the song, two sentences were left strangely incomplete: “Let's start…/Let's have...”. Twenty years later, Callahan covered Let's Move to the Country on Gold Record, and he’s filled in the blanks: “Let's start a family / Let's have a baby / or maybe two / ooh ooh oooh”. In real life, he settled down and started a family. He anchored himself, tamed his anxiety and opened a new chapter in his very long discography. Bill Callahan’s albums have always been intense. But in the last couple of years they have become intensely peaceful. There’s no stylistic revolution on Gold Record: Callahan always harvests his songs in the field of Americana, between wasteland country and bluesy folk by the fireside. And what makes him unique and exciting belongs only to him: that dry, low voice that hasn’t changed since the first version of Let's Move to the Country, some unusual production details, lyrics like an existential diary inspired by everyday life experiences - one song about breakfast, another about neighbours, another about Ry Cooder. A touch of humour, too. For example, Bill Callahan begins the song Pigeons with the words “Hello, I'm Johnny Cash” and ends it with a “Sincerely, L. Cohen”. In his own way (lurking in the shadows and happy to be there), he has taken over from the two giants with Gold Record. © Stéphane Deschamps/Qobuz
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Klassiek - Verschenen op 4 september 2020 | BIS

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In 2019, at the age of 22, Alexandre Kantorow became the first French pianist to win the prestigious Tchaikovsky Competition. Before then he had released three acclaimed albums, awarded distinctions such as "Diapason d'or de l'Année" and Gramophone's "Editor's Choice" and earning Kantorow descriptions ranging from 'Liszt reincarnated' to 'a firebreathing virtuoso with a poetic charm and innate stylistic mastery'. The present recital, his first release since the Tchaikovsky Competition, offers plenty of scope for virtuosity, poetry and charm, always filtered through an acute stylistic consciousness. The programme is constructed around three rhapsodies, a genre whose improvisatory character corresponds perfectly with the spirit of Romanticism but here interpreted by three highly distinct artistic temperaments: Franz Liszt, Johannes Brahms and Béla Bartók. © BIS Records
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Moderne jazz - Verschenen op 28 augustus 2020 | Nonesuch

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Electronic - Verschenen op 28 augustus 2020 | Smalltown Supersound

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Pop - Verschenen op 21 augustus 2020 | All Saints Records

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Moderne jazz - Verschenen op 21 augustus 2020 | Table Pounding Records

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Free jazz & Avant-garde jazz - Verschenen op 21 augustus 2020 | ONJ Records

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Alternative en Indie - Verschenen op 14 augustus 2020 | Cooking Vinyl Limited

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Although Fantastic Negrito's first two albums, The Last Days of Oakland (2016) and Please Don't Be Dead (2018) won Grammys in the "Best Contemporary Blues" category, the blues have steadily become a lesser flavor in the dynamic, iridescent blend that is his quest to be truly fantastic. Where he once channeled Jack White or Dan Auerbach, Xavier Dphrepaulezz aka Fantastic Negrito has added fluidity and wiggle and for the first time has stepped beyond his base musical inspirations (Prince, Sly, James Brown, George Clinton) into a more emotive and energized vehicle for messages like "eat less sugar, have more sex, have less stress," and "It's never too late to achieve your dreams." With Have You Lost Your Mind Yet, Fantastic Negrito has certainly taken a large step towards realizing his. With a title that nods not only towards Prince's "Let's Go Crazy" but also the gist behind Funkadelic's Free Your Mind… and Your Ass Will Follow, this collection shows yet again that Fantastic Negrito isn't shy about simultaneously lifting from and paying respectful tribute to his influences. The first obvious hit single of his career, the clap-along opener "Chocolate Samurai," establishes the layered voices that make this entire record sound like a group project when in fact he is the entire choir. Self-produced and recorded in Hi-Res at his Blackball Universe arts collective, the well-balanced sound mostly resists the impulse towards the excessively loud. In the otherwise expansive "I'm So Happy I Could Cry," he starts out sounding terse like bluesman Son House before breaking into fervent, reverby exclamations, and a brief, compacted rap. The tune ends with chords from the album's constant thread and musical backbone: Lionel Holoman Jr.'s Hammond B-3 organ, which adds body to every arrangement, undulating in the background or driving forward. Several guests appear including West Coast superstar guitarist Masa Kohama, Tarriona "Tank" Ball (from New Orleans' Tank and the Bangas), and Northern Californian rapper E-40 in a reimagining cover of his "Captain Save a Hoe" here called "Searching for Captain Save a Hoe." The album closes with the super playful, wonderfully titled "Platypus Dipster" that ends abruptly with, "Daddy, if I feel nervous, should I take Xanax?—No!" Fully earning his nom de musique, this is the sound of a huge talent ascending. © Robert Baird/Qobuz
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Alternative en Indie - Verschenen op 31 juli 2020 | Partisan Records

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The extreme tension and sincere rage of Dogrel, their first album, is still resonating as Fontaines D.C. strike again while the iron is hot. However, with A Hero’s Death, the Dublin band have shifted gear. They're still taking their influences from the post-punk scriptures of The Fall, Joy Division, Gang Of Four and Public Image Ltd., but this “difficult second album” also goes in other directions. The slow, almost oppressing rhythm on the opening I Don’t Belong introduces the band's new image. This image is that of a group dealing with the instantaneous success of their first album and the weighty tour that followed. Fontaines D.C. broaden their scope with ballads like Sunny and its baritone guitars, remisiscent of Indian summers, or Oh Such a Spring on which Grian Chatten sings with extraordinary delicacy. But A Hero’s Death also has the unstoppable clout that made Dogrel so good, anthems on which Chatten infinitely repeats the same phrase like “Life ain’t always empty”, belted out thirty times on the title track, A Hero’s Death, and “What ya call it, what ya call it, what ya” on Televised Mind… From the beginning, A Hero’s Death oscillates between incredibly rebellious and juvenile tension and more meditative, almost nostalgic sequences. Dogrel finished with Dublin City Sky, an acoustic ballad which conjured up images of a homely old pub and freshly pulled pints of Guinness, like a Pogues record (their favourite band). A Hero’s Death closes with No, another stripped back ballad, à la Oasis this time, which substitutes post-punk pessimism for lighter optimism, punctuated with the phrase “Please don’t lock yourself away just appreciate the grey”. Hard-hitting and brilliant. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 26 juni 2020 | Infectious Music

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In 2017, Holiday Destination brought Nadine Shah out from the underground, revealing an intriguing love child of PJ Harvey and Siouxsie and Anna Calvi. With that third album, the Londoner who was born to a Norwegian mother and a Pakistani father tightened the bolts of an indie rock that she delivered in a rather tense, borderline post-punk way, with angular basses, nervous but minimalist guitars and an almost free saxophone. Three years later, Shah has made her sound even more original with her heavy influences, notably thanks to her unique voice which has become deeper and deeper, hitting you from the very first minutes of Club Cougar, the brilliant opening track that sets the tone for the record. Even in her lyrics, the British singer stands out from her peers in her scathing introspection of the 30-year-old woman that she is, mocking societal pressures and sexism. Like on Ladies for Babies (Goats for Love) where she openly responds to the 90s Ace of Base hit, All That She Wants. Kitchen Sink is also more daring than its predecessors in its instrumental choices, less rock'n'roll and more atypical, especially in its impressive use of percussion which really spices up this beautiful album. © Marc Zisman/Qobuz

Alternative en Indie - Verschenen op 26 juni 2020 | Secret City Records

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Rock - Verschenen op 19 juni 2020 | Columbia

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Immediately contradicting the album's title, opener "I Contain Multitudes" finds Dylan doing his best Leonard Cohen: the lion in winter, growling with deceptively gentle gravitas over cinematic guitar—paying tribute to William Blake, Anne Frank, Indiana Jones and "them British bad boys the Rolling Stones." If it were to be the 79-year-old's last stand, it's a pretty damn great one. But he immediately springs to spirited life with "False Prophet," a no-frills dirty blues march. There are so many highlights: "My Own Version of You" is a laugh-out-loud "Frankenstein" tale set to a shadowy guitar prowl; the swooning "I've Made Up My Mind to Give Myself to You" borrows from doo-wop balladry. "I hope the gods go easy with me," Dylan croons on that track, and it's hard to shake the feeling that he's taking stock. But there's still so much to say. "Key West (Philosopher's Pilot)" finds the elder statesman chasing immortality along Route 1 for nine-and-a-half fully entertaining minutes, while closer "Murder Most Foul" stretches out for nearly 17, reliving the Kennedy assassination and incanting a phone book's worth of cultural-imprint references without wasting a second. © Shelly Ridenour/Qobuz
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Afrika - Verschenen op 19 juni 2020 | No Format!

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The aptly named Acoustic shows us a stripped back side of the queen of Malian song. Recorded in live takes over two intense days in the studio, she revisits her 2017 album Mogoya for the third time which, the following year, was remixed by the likes of St. Germain, François, The Atlas Mountain and even Spoek Mathombo. There is no electronic interference here, just Guimba Kouyaté’s sensitive guitar, her faithful musical companion Brahima "Benogo" Diakité’s kamélé n'goni and Vincent Taurelle’s organ and celesta, which were involved in the original album, enveloping the diva’s unique voice and the voices of her backing singers Emma Lamadji and Kandy Guira. The effect is stunning – never has Oumou Sangaré’s vibrant presence felt so close.Driven by this intimate atmosphere, Oumou insisted on adding two very personal tracks to the nine songs on Mogoya - two symbolic tracks from her magnificent career. Originally released in 1993, Saa Magni acts as a tribute to the late arranger Amadou Ba Guindo, one of her earliest supporters. The second added track is Diaraby Nene, without a doubt her most iconic song. Written when she was a teenager, she opens up to the emotions surrounding her first love. Breaking taboos in a traditionally patriarchal society, she’s made a few enemies but has also won the unconditional support of the younger generations and has become a leading voice for feminism, a fight she has never given up on. © Benjamin MiNiMuM/Qobuz
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Jazz - Verschenen op 29 mei 2020 | ECM

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If Benjamin Moussay’s name ever appeared on any ECM album covers it was always as sideman for Louis Sclavis, on his albums Sources, Silk and Salt on Melodies and Characters on a Wall. But with Promontoire, the 47-year-old has finally released an album for Manfred Eicher’s label that is entirely original solo material. Based in Munich, ECM Records already boasts an impressive number of major solo piano works, including the best-seller Köln Concert by Keith Jarrett, and Promontoire is now one of them. Moussay is a rather unassuming musician on the contemporary jazz scene, but those in the business have always recognised the clarity and strength of his playing. This includes Martial Solal, who said “He plays fair. Not too much, not too little”, but also an enormous list of musicians who have worked with him, including Sclavis, Archie Shepp, Dave Liebmann, Jean François Jenny Clark, Marc Ducret, Daniel Humair, Steve Swallow, Vincent Courtois, Michel Portal, Vincent Peirani, Youn Sun Nah, Airelle Besson and a few dozen others. He often plays in a trio (mainly with Eric Echampard and Arnault Cuisinier) but the solo piano pieces he performs here are timeless, characterised by simplicity, profound lyricism and improvisations with a strong narrative. Sensuality of the string’s vibration illuminating silence. Dance in its essence, solitary, unfolds with the flow of the internal rhythm. Elasticity of time, freedom of action, space, fleeting pleasure…Writing, infinitely reshuffling pretexts to the discretion of the instant. (…) Playing solo piano, I know the starting point and the destination. Mystery lies in the surprises of the journey”. This vision is a theme that flows throughout the twelve tracks on this album, which reveals a little more of itself with every listen. You can hear influences from all of his favourite musicians, from Thelonious Monk and Claudio Arrau to Lennie Tristano and Paul Bley, appearing and then disappearing before the melody takes over once again. Moussay always generates strong imagery with his melodies as he also composes music for film and theatre, but his work never sounds like music that has been churned out quickly without much thought or meaning behind it. Promontoire is particularly impressive during the more simplistic sequences (Villefranque and Monte Perdido), where Benjamin Moussay seems to say it all in just a few notes. This album proves that Less is more, yet again… © Marc Zisman/Qobuz
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Soul - Verschenen op 22 mei 2020 | Born Bad Records

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In the Indian Ocean (or rather on its islands), one sega can hide another. This Creole dance music is sometimes played in traditional costume on traditional instruments, a bit like a postcard. But in the 70s, a new form of creolisation emerged: the sega of rockers, long-haired youngsters in flares with electric guitars. For a handful of years, record diggers from all over the world have been exploiting this vein. It started in 2016 with the Soul Sok Sega compilation by the English label Strut, then the two Soul Sega Sa! compilations from the Swiss label Bongo Joe. And now it’s the French label Born Bad Records’s turn to bring Mauritius to the fishing ground for old electric sega singles. The traditional instrument of the Mauritian sega is the ravanne, a large goatskin drum which is often used for the typical ternary rhythms. On Moris Zekler’s thirteen tracks, you can still hear the ravanne rhythm, but it becomes a crowded dance floor where psychedelic guitars and electric organs go wild. Mixed with a western style (rock, soul, funk), this sega remains a rustic, sticky, often melancholic and offbeat tropical music, which always seems to have been recorded in the open air under a blazing sun rather than in an air-conditioned studio. © Stéphane Deschamps/Qobuz
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Alternative en Indie - Verschenen op 15 mei 2020 | Circus company

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Alternative en Indie - Verschenen op 24 april 2020 | Play It Again Sam

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Eén ding is zeker: het vierde album For Their Love (2020) van de indiepop-formatie Other Lives verveeld geen moment. De groep uit Nebraska slaat in de nieuwe songs flink aan het experimenteren en put onder meer inspiratie uit de jaren zestig popmuziek. Maar ook Americana en bossa nova komen voorbij op deze plaat. De productie mag verder enigszins bombastisch genoemd worden, met name door het veelvuldige gebruik van galm. © TiVo
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Ambient - Verschenen op 24 april 2020 | InFiné

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Moderne jazz - Verschenen op 24 april 2020 | Heavenly Sweetness

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