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49428 albums gesorteerd op Best verkocht en gefilterd op Sinds 3 maanden
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Pop - Verschenen op 8 februari 2019 | Republic Records

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The hyperactive Ariana Grande is back with thank u, next, just seven months after the release of Sweetener. And, most importantly, following the fatal overdose of British rapper Mac Miller, her ex-boyfriend. With this title, following a brief romance with comedian Pete Davidson, Ariana reinforces her image as a strong woman, despite her young age (25 years old) and her career’s past hardships. Pop music caramelised with some R&B, the twelve tracks of this fifth album − produced to perfection by Tommy Brown − forthrightly lift the veil on her former relationships. With her four-octave voice, the mini Mariah Carey, also known as Ari, is walking in the footsteps of Mimi in the 1990s and 2000s, and it shows (NASA)! And for a whiff of soul, she even dares sample Wendy Rene’s soul-crushing After Laughter (“After laughter comes tears”) on fake smile and adds the perfect amount of brass on bloodline. Shattering streaming records, the pop star knows how to surround herself and even co-wrote thank u, next with Victoria Monét. © Charlotte Saintoin/Qobuz
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Soul - Verschenen op 8 februari 2019 | Anti - Epitaph

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"It's kind of unbelievable to me that I’m still recording. I never thought I would still be singing at my age, and people seem to really want to hear me, they know me, they give me love - I'm just overwhelmed, really. I thank God every night before I go to bed and then again every morning for waking up." Few people would have imagined that at 79 years old Mavis Staples would still be reaching a wide audience and recording albums. Her inner strength is fully intact and this live performance at the Union Chapel in London just goes to prove it. Trump's America acts as a good source of inspiration and a powerful fuel for this voice that sings about God, love, and all the injustices and evils that surround us. She’s just as politically engaged as she was during The Staple Singers’ heyday (who were led by Pops Staples, her illustrious father) when the band released several protest songs for the Civil Rights Movement. Here, the gospel queen essentially sings songs from albums that she has released on the label ANTI since 2007. From Love and Trust by Ben Harper to Funkadelic's Can You Get to That and What You Gonna Do (which she sang during the sixties with The Staple Singers), from Let's Do It Again by Curtis Mayfield to Slippery People by Talking Heads, Mavis Staples’ voice turns everything it touches into gold. © Marc Zisman/Qobuz
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Klassiek - Verschenen op 8 februari 2019 | Deutsche Grammophon

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The first great asset of this second album from Simon Graichy for the Yellow Label is the clarity of its recording which captures the exquisite sound of this Franco-Lebanese Mexican pianist and the intense energy with which he plays, especially in Schumann’s Humoreske. Its second great asset is that it includes Schumann’s very rare Etudes in Variation Form on a Theme by Beethoven based on the second movement of Ludwig van Beethoven’s symphony No.7, which many people may not be familiar with. The very first version was developed in the years 1831-32 and was scarcely recorded, but it is a true masterpiece from Schumann’s youth. To summarise, Simon Graichy takes us on a unique journey through his imagination on this album, where the possibilities are endless. It is not often that Schumann’s Humoreske is combined with “minimalist” pieces like Chilly Gonzales’ amazing Robert on the bridge and Pawel Szymanski’s poetic Etudes pour piano. An intriguing voyage that makes for a mesmerising experience. © Pierre-Yves Lascar/Qobuz
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Electro - Verschenen op 8 februari 2019 | DFA Records - Columbia

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Klassiek - Verschenen op 8 februari 2019 | Sony Classical

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Competition between composers was fierce and ruthless in the princely courts of 18th century Europe, and Mozart was just one of many. This new album from Russian soprano Olga Peretyatko serves as the perfect reminder of this, dedicated to Mozart’s famous arias (The Abduction from the Seraglio, The Marriage of Figaro, Don Giovanni and The Clemency of Titus) but also including works by Traetta, Martín y Soler and Paisiello, which are equally as masterful. The three excerpts from Tommaso Traetta’s Antigone which derived from Neapolitan opera and was composed for the court of Catherine II of Russia, are a testament to the passion that motivated composers from this period. His melodic phrases are full of tenderness and affliction and they certainly did not go unnoticed by the young Mozart. Paisiello and Martín y Soler were also both very successful in their time and completely eclipsed Mozart’s opera The Marriage of Figaro, which only really gained popularity in Prague and was the reason why he was asked by the Czech capital to compose Don Giovanni. Even if Mozart’s contemporaries were tough on him, his unique genius has been recognised overtime and his extraordinary legacy has overshadowed all those of other great composers from his time. This album provides an enthralling replica of his music, featuring top-class performer Olga Peretyatko alongside the Basel Symphony Orchestra conducted by Ivor Bolton. © François Hudry/Qobuz
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Folk - Verschenen op 8 februari 2019 | Parlophone France

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Klassiek - Verschenen op 8 februari 2019 | Nonesuch

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Jazz - Verschenen op 25 januari 2019 | ACT Music

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Album after album, Emile Parisien refines his self-portrait. He adds some shades. Erases others. And whatever the formation, context or repertoire, the saxophonist maintains his song, his voice and his own immediately identifiable style... Throughout his wide repertoire, the pieces that he has conceived with his quartet (for more than a decade) have always occupied a special place. With pianist Julien Touéry, double bassist Ivan Gélugne and, as a new recruit, drummer Julien Loutelier, Parisien leads this improvisation that touches on the sublime and is ever surprising. With his virtuosity he could have simply stuck to what is conventional. But that word doesn’t resonate with him. Every second of Double Screening explores new territories. He is one of the few saxophonists of his generation to alternate between lyricism and libertarianism in the snap of the finger. Going from laughter to tears is not a paradox in the universe of Emile Parisien's quartet. It is simply its raison d'être. And, in the end, a way to offer a type of jazz that is more organic than cerebral. © Marc Zisman/Qobuz
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Pop - Verschenen op 8 februari 2019 | Republic Records

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Originele soundtracks - Verschenen op 14 december 2018 | Universal Records

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Rap - Verschenen op 8 februari 2019 | Plata o Plomo Records

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Klassiek - Verschenen op 25 januari 2019 | Deutsche Grammophon (DG)

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Rap - Verschenen op 25 januari 2019 | Universal Music Division Def Jam Recordings France

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Franse chansons - Verschenen op 14 december 2018 | Universal Music Division Mercury Records

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Country - Verschenen op 8 februari 2019 | Sony Music CG

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Symfonische muziek - Verschenen op 8 februari 2019 | LSO Live

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Widely recognized as one of the leading conductors of his generation, LSO Principal Guest Conductor Gianandrea Noseda presents a work of concentrated emotional intensity in the first of a new series exploring Tchaikovsky's final three symphonies. Urgent, supercharged and violent in places, Tchaikovsky's Fourth is said to reflect the turmoil he found himself in while composing: a disastrous marriage, struggles with his sexuality and severe depression. Yet, despite the gloomy outlook, the symphony proves undoubtedly that Tchaikovsky knew how to fill his works with memorable melodies. Known for his mastery of Russian repertoire, for this album Noseda pairs Tchaikovsky with a masterpiece by his fellow countryman, Mussorgsky's Pictures at an Exhibition, performed here in Ravel's iconic orchestration. © LSO Live
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Alternative en Indie - Verschenen op 18 januari 2019 | 4AD

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In 2015, two years after Monomania, Bradford Cox and his men signed off on Fading Frontier, a surprising seventh album that offered up new perspectives for Deerhunter. The Atlanta gang used to play muffled sonic pop with an impressive melodic mastery. A fascinating type of music inherited from My Bloody Valentine’s sound wall. This dreamlike rock was still more or less on the agenda with Fading Frontier but Cox leaned towards more purity, more melodies, and more pop, like on the frenetic and groovy single Snakeskin... Four years later, Why Hasn't Everything Already Disappeared? proves that Deerhunter have not yet completed their metamorphosis. The richness of this eighth album, which is even further removed from the shoegaze spirit of their early days, shows that Bradford Cox's brain is still in turmoil. From the harpsichord of Death in Midsummer, reminiscent of The Kinks (as well as No One's Sleeping, which is also in the spirit of Ray Davies) to the futuristic/synthetic sound of Greenpoint Gothic (it's like David Bowie's Berlin period led by Brian Eno) and the exhilarating and catchy power pop of Futurism, the album dares to do just about everything. But that’s not to say that there’s no common thread. Bradford Cox, Lockett Pundt, Moses Archuleta, Josh McKay, Javier Morales and, as a guest on three tracks, Cate Le Bon always find a plan, a melody, a punchline, an atmosphere or an unexpected digression to impress their audience. Amazing and captivating. © Marc Zisman/Qobuz
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Alternative en Indie - Verschenen op 8 februari 2019 | Virgin EMI

From the get go, Yak skids off the track. The debacle starts off with the psychedelic Bellyache, as heavy as Tame Impala’s Elephant but with the filthy guitars of the Black Angels and Olivier Burslem’s punk vocals. This is a long way from the finesse of The Best Of Us, his well-behaved first album that started off with folk strings and androgynous vocals (also on Jack White’s label Third Man Records). Pursuit Of Momentary Happiness is pure ramshakle, filthy, energetic, unwieldy rock’n’roll. The comforting thing is that the London trio dispaly their awesomeness right until the end, with nice variety. Fried clearly leers towards the Saints’ punk style while a few tracks (Encore, Pursuit Of Momentary Happiness) are reminiscent of British chic pop à la Arctic Monkeys. Delightful. © Charlotte Saintoin/Qobuz
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Alternative en Indie - Verschenen op 14 december 2018 | Sony Music Entertainment

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Rock - Verschenen op 14 december 2018 | Columbia

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A few months after the release of his autobiography Born to Run, Bruce Springsteen took to the stage of the Walter Kerr Theatre in New York for a number of stunning concerts. The Boss performs tracks from his extensive music career acoustically on guitar and piano, intertwining his compositions with personal anecdotes. The result is this intense and unfiltered live performance, including the stripped-back and powerful versions of tracks from his albums Greetings from Asbury Park, Born in the U.S.A., Nebraska, Tracks, Born to Run, Darkness on the Edge of Town, Tunnel of Love, Magic, The Rising and Wrecking Ball … It was through these albums that the New Jersey kid became an icon, both musically and ideologically. Following in the footsteps of his idol Bob Dylan, Springsteen remains one of the most remarkable representatives of America’s powerless, providing poignant snapshots into the harsh reality of the crumpled starred flag and the supposed American Dream. The stripped-back versions of his hits Thunder Road, The Promised Land, Born in the U.S.A., Dancing in the Dark, Land of Hope and Dreams and of course Born to Run give a new perspective to a repertoire that we know so very well but never grow tired of. There’s a reason why he’s called the Boss… © Marc Zisman/Qobuz