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Soul - Verschenen op 17 juli 2020 | Warner Records

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With her third album, British singer-songwriter Lianne La Havas once again proves that her voice is unlike anything else in this world. She unleashes its full transcendence straight out of the gate with the sexy piano R&B of "Bittersweet," going from a husky, dusky alto on the verses to soaring high above the trees on the chorus. For the dream-like "Green Papaya," she manages to match it to the ambient strings so they together sound like pouring liquid—water finding its way around rocks. Her style is soul and R&B that refuses to fit neatly into a box; no wonder Prince was a big fan and mentored her creatively in his last years. There's a Roberta Flack tenderness to "Courage" and shades of Alicia Keys on the simmering "Can't Fight," and La Havas easily branches out to cover Radiohead's "Weird Fishes," drawing out the words "eyes" and "I" to dizzying effect. Meanwhile, "Seven Days" and "Please Don't Make Me Cry"—all stuttering percussion and free-floating melody—make a solid case for the return of trip-hop. Her jazz phrasing on "Read My Mind"—magic on the line "sweet joy when a girl meets a boy"—is like an aural push-pull with the song's gentle rubber-band-bounce rhythm before the whole thing unspools into piano trills and hypnotic chanting: "What are you waiting for?" Single "Paper Thin" uses organ and laidback drums to set a slow and easy rhythm, building a safe cocoon for La Havas' fragile, low-to-the-ground delivery. "Paper-thin/God only knows the pain you're in... I know your pain is real/But you won't let it heal," she soothes. It's a cliché that music is an escape, but an apt one here. © Shelly Ridenour/Qobuz
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Funk - Verschenen op 25 september 2020 | Warner Records

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Prince and the Revolution released the Parade album in March 1986, after which, the following Prince projects were conceived, mostly completed, and abandoned: a single LP Dream Factory, a double-LP Dream Factory, the 3-LP Crystal Ball, a musical known as either The Dawn or Dream Factory, and a single LP Camille. Finally, in March 1987, the double-LP Sign O' The Times was released, cherry-picking highlights from most of those projects and adding brand-new material. It is—even for an artist who has gone down in history as one of the most prolific pop musicians of the 20th century—an astonishing volume of work. Even more astonishing is the consistently high quality of the work. The original Sign O' The Times has long been recognized as Prince's creative zenith, garnering the sort of contemporaneous and retrospective critical admiration that very few double albums have ever claimed. But the fact that this work was the result of a 27-year-old creating at such a fast clip and such a high level is, when you stop and think about it, not just the mark of a genius at the top of his game, but something truly singular. That uniqueness may bedevil listeners of this Super Deluxe Edition. While the Sign O' The Times album itself is, of course, still an incredible work that benefits immensely from the careful remastering (this album, probably more than any other in Prince's catalog, was in dire need of it), there is no easy way to mentally process its 45 unreleased tracks. They are sequenced in chronological order of recording, which makes sense, as there really is no other simple way the Estate could have presented this work. However—believe it or not—this isn't even everything! Due to licensing restrictions and the fact that many of these tracks exist in multiple versions, there is no way this set could be comprehensive. So, while this presentation does deny listeners the chance to compile their own versions of the Dream Factory or Camille albums from the unreleased material, it also declines to provide any sort of narrative listening experience. Which is probably for the best. When, in just two years, you can go from the height of the Revolution's powers ("In A Large Room With No Light,""Soul Psychodelicide") through a collaboration with Miles Davis ("Can I Play With U?") and a run of inventive, immersive home-studio creations ("Cosmic Day") and then on to the sounds that would define Lovesexy ("The Cocoa Boys,""Walkin' in Glory"), the only story to tell is one of a prodigy at his most prodigious. With four albums' worth of unreleased material here—nearly all of which is in surprisingly solid sonic condition—your best bet is to proceed slowly, soak it all in, and find your favorites. And, if the original album and 45 unreleased tracks wasn't enough, this set also includes a handful of edits and remixes along with the two b-sides that were released contemporaneously with the album and an absolutely blazing live set from the album's European tour. © Jason Ferguson/Qobuz
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Alternative en Indie - Verschenen op 24 maart 2003 | Warner Records

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Pop - Verschenen op 15 mei 2020 | Warner Records

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Pop - Verschenen op 20 oktober 1982 | Warner Records

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Alternative en Indie - Verschenen op 24 oktober 2000 | Warner Records

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Rock - Verschenen op 16 oktober 2020 | Warner Records

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More than a quarter-century after Tom Petty's Wildflowers was first released, it can finally be heard the way the singer-songwriter intended. When he turned in 25 songs, hoping for a double album, Warner Bros. asked him to pare it down to one. But just three years past his death, his family and Heartbreakers bandmates Benmont Tench and Mike Campbell (technically a solo release, Wildflowers features most of the band) have restored the record to its original glory and added in a trove of home demos, alternate takes and live tracks—some 70 songs in all. Produced by Rick Rubin while Petty's decades-old marriage was crumbling and he was reportedly battling heroin addiction, the 1994 release remains one of the all-time great break-up records; heard all together, the extended LP (the All The Rest part is produced Petty's longtime engineer Ryan Ulyate) Petty is a deeper devastating beauty. "New" tracks like the Byrds-y "Leave Virginia Alone," tender "Something Could Happen" and psychedelic Beatles-meets-Wall of Sound "Somewhere Under Heaven" are a comfortable coda to classics such as "You Don't Know How It Feels" and "It's Good to Be King." Extra track "Hope You Never" is a gorgeous, direct complement to old favorite "Only a Broken Heart." As perfect as the original album has always played, it's hard to imagine not including the swaying After the Gold Rush-esque "Hung Up & Overdue" (with backing vocals by Beach Boy Carl Wilson) or sunny, jangling "California" (which also shows up in a demo version, with a telling extra verse: "Don’t forgive my past/ I forgive my enemy/ Don’t know if it lasts/ Gotta just wait and see"). Dig into the home recordings, and it's an even bigger mystery why the harmonica-inflected "There Goes Angela" and plaintive "There's a Break in the Rain (Have Love Will Travel)" weren't contenders over, say, the Celtic-flavored "Don't Fade on Me." Chalk part of that first-listen awe up to the intimacy of these solo demos, which also cast a new, revelatory light on the gently folksy title track and "You Don't Know How It Feels." Live non-album favorites "Girl on LSD" and "Drivin' Down to Georgia" are captured here, along with a blistering "Honey Bee" and lovely takes on "You Wreck Me" and "Crawling Back to You." Tench has recalled Petty calling Wildflowers "the best record we ever made." Now it's even better. © Shelly Ridenour/Qobuz
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Alternative en Indie - Verschenen op 7 juni 1999 | Warner Records

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Alternative en Indie - Verschenen op 24 september 1991 | Warner Records

Hi-Res Onderscheidingen The Qobuz Ideal Discography
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Alternative en Indie - Verschenen op 14 augustus 2020 | Warner Records

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Rock - Verschenen op 28 februari 1970 | Warner Records

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Alternative en Indie - Verschenen op 31 januari 2020 | Warner Records

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Eleven years after taking a guitar to the head from his brother Noel leading to the end of Oasis, Liam Gallagher asserts himself more and more as a composer and performer. With this surprise EP, Gallagher continues to weave his huge musical web and it doesn’t look like he’ll be stopping any time soon, following two solo albums that showed off his innate talent for composing, As You Were in 2017 and Why Me? Why Not? in September 2019. He gives an intimate performance here, devoid of any fancy tricks, and the 8-track album (made up of acoustic covers of songs he wrote both in solo and with Oasis) showcases an artist who seems to have known where he was heading. Demonstrating a great maturity and steeped with emotion, Liam Gallagher retraces his steps, picking the fruits of the different seeds he has sown over the years. It’s a wonderfully authentic album, punctuated by some truly magnificent moments. Rarely has this artist laid himself so bare, exploring his fragile side with less and less shyness. Absolutely worth a listen. © Maxime Archambaud/Qobuz
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Alternative en Indie - Verschenen op 28 september 2012 | Warner Records

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Alternative en Indie - Verschenen op 14 september 2009 | Warner Records

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Hip-Hop/Rap - Verschenen op 17 januari 2020 | Warner Records

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Rock - Verschenen op 12 maart 2013 | Warner Records

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Alternative en Indie - Verschenen op 20 september 2005 | Warner Records

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Alternative en Indie - Verschenen op 23 maart 2004 | Warner Records

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Alternative en Indie - Verschenen op 14 mei 2007 | Warner Records

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Alternative en Indie - Verschenen op 9 november 2018 | Warner Records

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Simulation Theory is het achtste studioalbum van Muse, dat zich laat beluisteren als het science fiction-album van de Britten. Meer dan ooit zetten de Britten op de nieuwe plaat elektronische invloeden in. Ook in de teksten komt het science fiction-thema terug, met nummers over de rol van simulatie in onze maatschappij. Simulation Theory is niet het beste Muse-album ooit, maar wel een plaat waarop de band op dappere wijze nieuwe wegen inslaat. © TiVo

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