Albums

671 albums sorted by Date: from newest to oldest
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Classical - Released January 18, 2019 | harmonia mundi

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A new aesthetic calls for new forms: such is the challenge the composer set for himself in the two works presented here. In Les Nuits d’été, Berlioz pioneered, well before Mahler and Ravel, a song cycle for voice and orchestra. In Harold in Italy, scored for large orchestra and solo viola, he experimented with the symphonic genre. These period-instrument performances by Les Siècles, led by François-Xavier Roth, with violist Tabea Zimmermann, also feature Stéphane Degout in the vocal cycle, heard here in the composer’s own version for baritone. File under: out of the ordinary. © harmonia mundi
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Asia - Released January 18, 2019 | Glitterbeat Records

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Opera - Released November 30, 2018 | LSO Live

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Pop - Released November 16, 2018 | Elea

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Rock - Released November 2, 2018 | Columbia - Legacy

Hi-Res Distinctions 4F de Télérama - Best New Reissue
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Rock - Released November 2, 2018 | Sanctuary Records

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Alternative & Indie - Released October 19, 2018 | Communion Group Ltd

Hi-Res Distinctions 4F de Télérama - Qobuzissime
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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Dub - Released October 19, 2018 | Jarring Effects

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Electronic/Dance - Released October 19, 2018 | Neneh Cherry

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She’s done punk, hip-hop, trip hop and electro… As soon as there’s a bust-up, Neneh Cherry is always there, right in the heart of the action! In 2014, with her album Blank Project, she couldn’t be faulted for playing the opportunistic comeback card. The Swedish stepdaughter of the great jazz trumpeter Don Cherry celebrated her fiftieth birthday by offering her songs to the master of electro-jazz Kieran Hebden, a.k.a. Four Tet, who sewed her a stunning sonic patchwork. Her vocals weave themselves into Hebden’s strange and fascinating textures, a kind of tribal and futuristic soul that dares to embrace trip hop, ethnic music and even pure experimental music... Four years later, Four Tet lends his genius once again to some of the tracks on Broken Politics, Neneh Cherry's fifth album. He is even joined by 3D from Massive Attack, with whom Neneh Cherry had worked with on the album Blue Lines in 1991. But this 2018 vintage album offers much more soul than the ones that came before it, with an added touch of melancholy. Through her lyrics, Neneh Cherry raises her fist in the air. She tackles the migrant crisis, women’s status in society and extremism of all kinds with some of her most politically charged songs to date, dressed in a kind of electro-soul blues. Languid on the outside and angry on the inside, Broken Politics is above all the work of an exciting artist who’s not ready to be caged up any time soon. © Marc Zisman/Qobuz
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Jazz - Released October 19, 2018 | Gazebo

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Eric Le Lann and Paul Lay return to the roots of jazz here. THE root even. With Thanks a Million the trumpeter and pianist embark on a pilgrimage to planet Louis Armstrong. They obviously aren’t the first to celebrate and pay homage to this brilliant music, but their refined approach deserves respect. Besides the wonderful elegance in their interpretations of these pieces, Le Lann and Lay display a fascinating knack for complicity, putting their own original spin on the pieces (which have been heard many times over). With some great piano/trumpet duos this album is a superb Paso Doble that closes with Farewell to Louis, an original composition that’s drenched in melancholy. © Marc Zisman/Qobuz
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World - Released October 19, 2018 | Molpé Music

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Soul - Released October 19, 2018 | Craft Recordings

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Classical - Released October 19, 2018 | Glossa

Booklet Distinctions 4F de Télérama - Gramophone Editor's Choice
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One of the great composing figures from the French Baroque, Michel-Richard de Lalande is starting to receive his just dues through modern recordings, and Glossa is happy to unveil a new release featuring Olivier Schneebeli directing Les Pages et Les Chantres du Centre de Musique Baroque de Versailles in three of Lalande’s sumptuous “grands motets”. Very much a favoured composer during the reign of Louis XIV, Lalande progressively assumed – from the 1680s onwards – more and more of the principal court offices, and was called upon to provide sacred music for the Chapelle Royale within the Château de Versailles. Although the new (and ‘definitive’) chapel was not consecrated until 1710, the trio of “grands motets” (extended multi-movement choral and solo settings, typically of Psalms, with instrumental accompaniment) recorded here will have been conceived of according to the chapel’s architectural and acoustical characteristics. Thomas Leconte, from the CMBV, provides an illuminating historical backdrop in his booklet essay. Much detailed performing information from Lalande’s time is known today – including number of instrumental forces used and about the composer’s later revisions of his scores – and Venite, exultemus Domino, De profundis and Dominus regnavit all receive expressive and meticulously-prepared performances within the Chapelle Royale itself. To the quality of preparation of the CMBV “maîtrise” can be added the presence of a quartet of vocal soloists deeply experienced in the style of music from this time: Chantal Santon-Jeffery, Reinoud Van Mechelen, François Joron and Lisandro Abadie. Likewise, the contribution of Jana Semerádová’s Collegium Marianum provides exemplary instrumental support to Schneebeli’s direction in this new CMBV production. © Glossa
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Rock - Released October 12, 2018 | Concord Records

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From the release of his debut album, My Aim Is True, in 1977, Elvis Costello expressed his musical gluttony by mixing explosive pub rock, reggae tones, almost country-like ballads and pop songs sculpted with crystalline arpeggios. It was this eclecticism that allowed him to work with people as diverse as George Jones (the godfather of country music), Burt Bacharach (the master of pop lounge), the mezzo-soprano Anne Sofie von Otter, the jazz guitarist Bill Frisell, and even the rappers from The Roots, just to name a few… Forty years later, the elusive spectacled Brit (having always been fond of concept albums), releases Look Now with the Imposters, featuring Steve Nieve on keyboards, Davey Faragher on bass and Pete Thomas (already the drummer of his group Attractions). This group, with whom he recorded Momofuku in 2008, give him the chance to get his writing pen out once again… and it’s as sharp as ever. Here he has shared the writing responsibilities with the great Carole King on Burnt Sugar Is so Bitter, co-written 25 years earlier, as well as with Bacharach on Photographs Can Lie and Don't Look Now. Once again, it feels like Costello is searching for the perfect pop song. He takes an approach that screams 1960s. However, the timelessness of the album anchors the songwriter well in his time, in 2018. Costello succeeds in writing melodies and lyrics that stick in his listeners’ heads. A good song, as we all know, is ageless and Elvis Costello certainly reminds us of that here... © Marc Zisman/Qobuz
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World - Released October 12, 2018 | Glitterbeat Records

Hi-Res Booklet Distinctions 4F de Télérama
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Classical - Released October 12, 2018 | Ramée

Hi-Res Booklet Distinctions 4F de Télérama
The present recording constitutes more than just a new version of the Vespers. It is the first recording of the Vespers in the alternative version proposed by the composer, without concertato instruments. It reveals the underlying matrix of the work we all know, the ‘original version’ to which Monteverdi added concertato instruments for use in large-scale performances. Respecting the structure of the Office of Vespers, Ludus Modalis has chosen to frame the psalms with the antiphons corresponding to a Marian ceremony. The interpretation proposed here is one influenced by the Renaissance tradition. It places the work in perspective in a musical world at the point of equilibrium between prima and seconda prattica, between the achievements of tradition and the contributions of modernity. © Alpha/Outhere
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Jazz - Released October 12, 2018 | Sunnyside

Hi-Res Distinctions 4F de Télérama
Even if the Oblique Quartet are moving forward together, Dave Liebman looks like a leader. The fact that his name appears on more than 300 albums and his CV includes “freelancing” for Miles Davis and Elvin Jones, to name but a few, gives an indication to the calibre of this saxophonist from Brooklyn. Fortunately for Liebman, who is now 72 years of age, he quickly succeeded in establishing his own name away from his famous employers. He is joined by pianist Marc Copland, double-bassist Drew Gress and drummer Michael Stephans, who is in fact the real mastermind behind this quartet and adds a Coltrane-esque air to a repertoire essentially comprising of classics, three of which are written by Miles (Nardis, All Blues and So What) and one by Duke (In a Sentimental Mood). Recorded live at the Deer Head Inn in Delawere Water Gap, Pennsylvania, this is a wonderful array of improvisations that were never very well-known or acclaimed. A real instrumental whirlwind to be experienced right the way through in one go. © Marc Zisman/Qobuz

Reggae - Released October 5, 2018 | Yotanka Records

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Alternative & Indie - Released October 5, 2018 | Domino Recording Co

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A guitar held up by the neck, a child's head pressed against the holder's body. Cat Power reveals a lot with the cover of her tenth album. The American is up and running again and now she is a mother. At 46, Chan Marshall seems to be doing... better? Well, It's not as if her life, which has been studded with internal chaos, turbulence, a lot of moving around, depression and addiction is going to be all plain sailing from here on in, but Wanderer contains some of her most beautiful songs yet. Stripped-down compositions. A simple piano. A few notes on a guitar. A lean rhythm section. It's clear that the message here is "less is more." Perhaps her aim is to return to the roots of her old folk and blues mentors. Bringing a child into the world during the Trump era is enough to get anyone thinking again... And Cat Power hasn't sung for years. Her tones with their bluesy style, unmistakeable from the first syllable, reach sublime heights here. After a slightly electro detour with Sun, mixed by Zdar from Cassius, she doesn't give us too many surprises here in terms of the pretty classical form of her songs, but the surprise comes in the sheer quality of the tracks. One of her biggest fans, Lana Del Rey, makes an appearance on the album on the track Woman maintaining the sober feel to this beautiful and honest record. © Marc Zisman/Qobuz  
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Contemporary Jazz - Released October 5, 2018 | TRAIN FANTOME

Hi-Res Distinctions 4F de Télérama - Indispensable JAZZ NEWS
It takes guts to name your album L’Odyssée. But Fred Pallem has always been a real jazz adventurer, never happy to let the genre just run its cause... And his 2018 release is yet another daring and dense piece of work, built around strong rhythms and delicious arrangements. Here, Pallem, alongside his trusty Sacre du Tympan creates some layered pieces, often very funky and very filmic. Nothing surprising there, when you think of his 2017 album Soul Cinema about blaxploitation and his homage to François de Roubaix published the previous year, two records which have rubbed off on Odyssée. The Odyssée experience is like watching a spoof film that's part thriller, part comedy, with a sort of 70s vintage feel to it. The arrangements are precise and well crafted and the soloist parts are always very original. © Max Dembo/Qobuz