Browse Month by January 2018
Musics

Stefan Temmingh and Capricornus Consort Basel – Vivaldi and Bach ~ The Concertos for Recorder and Pr…

Stefan Temmingh & Capricornus Consort Basel – Vivaldi & Bach: The Concertos for Recorder & Preludes (2018)
Classical | MP3 CBR 320 kbps | Digital Booklet | 01:08:39 | 168 MB
Label: Accent
Stefan Temmingh is a member of the new young generation of world-class recorder players. Born in Cape Town, he comes from a Dutch-South-African family of musicians and now lives in Munich. Being an early music specialist, he plays internationally with his baroque ensemble at renowned festivals and concert series, and can also be heard as a member of ensembles of all sizes in Europe, Asia and Africa. His fine playing is regularly compared to the style of the legendary Frans Brggen. On this collaboration with the Capricornus Consort Basel, he makes use of his wide array of technical and musical resources to render a reference version of Vivaldi’s Recorder Concertos.

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Stefan Tarara – Ysaÿe ~ 6 Sonatas for Solo Violin, Op. 27 (2018)

Stefan Tarara – Ysae: 6 Sonatas for Solo Violin, Op. 27 (2018)
Classical | WEB FLAC (tracks) & d. booklet | 348 MB
Label: Ars Produktion | Tracks: 15 | Time: 75:00 min
After two productions with chamber music, Stefan Tarara now presents his debut album as a soloist on Ars Produktion. The young Heidelberg violinist interprets Eugne Ysae’s Six Sonatas Op.27 for violin solo on a Stradivari from 1721. Each of these pieces is dedicated to a certain famous violinist, e.g. George Enescu, Fritz Kreisler or Joseph Szigeti, and is composed in a corresponding style. Stefan Tarara was born into a musical family in Heidelberg, Germany in 1986 and made his stage debut at the age of four. After earning his baccalaureate in Heidelberg in 2006, Tarara completed his Diploma (2010), an MA in Specialized Music Performance (2012) and an MA in Pedagogy (2015) in the class of Zakhar Bron at the University of Arts in Zurich, Switzerland. Due to his successes at international music competitions, Tarara was named Musician of the Year in 2008 and 2010 by the German music journal Neue Musikzeitung. Tarara has a keen interest in contemporary music. In addition to performing numerous premieres, Tarara won the Interpretation Prize for his performance of Massimo Lauricella’s work Kairos at the International Premio Paganini Competition in 2010.

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Musics

Starcrawler – Starcrawler (2018)

Starcrawler – Starcrawler (2018)
WEB FLAC (Tracks) – 186 MB | Cover | MP3 CBR 320 kbps – 63 MB | 00:27:51
Indie Rock, Alternative Rock | Label: Rough Trade
Resuscitating capital-R rock n’ roll, Starcrawler casts aside any pretensions, any genre tourism, any form really aside from that of pure rock n’ roll. Well, it’s pure rock n’ roll so far as it’s been informed by nearly 30 years of grunge and metal influence, but let’s not mince words here or delve into taxonomies. Starcrawler has every reason to return to this period of purity in sound and form, their reasoned defiance against a landscape of blended genres and dissolving structures, provides an almost mythical sense of comfort.
But is it predatory nostalgia Not quite there’s a garage punk sincerity found throughout with Different Angles, which is really just a brisk, punchy track with some brilliant and proto-punk era-accurate vocals from livewire of a human being and frontwoman Arrow De Wilde. Love’s Gone Again is gloomy and appropriately vicious, with De Wilde’s vocalizations soaring over blistering choppy riffs and twinkling vintage accents of furious guitar melodrama. There’s a pop sensibility throughout, bordering on elation, with grime-tinged tracks like Full of Pride whose blink-and-it’s-over runtime benefits the track with its succinctness and depth of impact.
Some of the more exploratory and daring tracks here really shine, Let Her Be casts a shadow over the second half of the album with compositions of roaring guitars and vocals that build into a teetering crescendo of madness. It’s deeply evocative of some of the more prolonged and ambitious delays found in the catalog of Nevermind-era Nirvana. It worked then, it works now, it will most likely work forever. That’s in essence the ethos of Starcrawler.
As a band and more importantly, as a debut, Starcrawler works best when it’s utterly frenetic and gleeful, flirting with punk as much as they do with glam and garage rock. The slower jams here, while thoughtfully constructed and appropriately styled, just don’t carry the same momentum, space, or sense of urgency that the rest of the tracks so effortlessly do. Starcrawler’s debut is a snotty, visceral and throttling little slice of pure rock aggression. What it lacks in nuance or ambition, it equally makes up for in sheer snot nosed jubilance.

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Musics

Speak Low If You Speak Love – Nearsighted (2018)

Speak Low If You Speak Love – Nearsighted (2018)
WEB FLAC (Tracks) – 291 MB | Cover | MP3 CBR 320 kbps – 112 MB | 00:48:41
Indie Pop, Indie Rock, Alternative | Label: Pure Noise Records
Nearsighted will be the second, full-length album from Speak Low If You Speak Love, following Graham’s debut record Everything But What You Need, which was released in 2015 by Pure Noise Records. The forthcoming album transcends beyond his early acoustic work, as he explores expanded sounds and instrumentation with a refined sense of depth and maturity.
Working on Nearsighted was an immense process, Graham adds. I wanted to experiment in a big way with my songwriting and my drummer Drew and I sat with each song for days, weeks, (even years on a handful of tunes) just toiling with each chord progression, making sure every note had purpose. I’m older now, and I’m always looking for new ways to express certain ideas, so I really feel we captured that with the sound of this record. It’s different enough to be interesting and fun, but still the Speak Low I think many have come to know. Our producer Aaron Marsh took these songs and really changed the game. It was a pleasure working with an artist I’ve looked up to for years.

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Sophie Bevan and Sebastian Wybrew – Songs of Vain Glory (2018)

Sophie Bevan & Sebastian Wybrew – Songs of Vain Glory (2018)
Classical, Vocal | WEB FLAC (tracks) & front cover | 209 MB
Label: Wigmore Hall Live | Tracks: 24 | Time: 69:27 min
With each season soprano Sophie Bevan grows in artistic stature and when taking breaks from her distinguished operatic career, she has always felt supremely comfortable performing songs. Her enduring partnership with Sebastian Wybrew began as students at the Royal College of Music and this, their debut release on Wigmore Hall Live, captures her beguiling artistry and astonishing vocal gifts.
A recital to commemorate the anniversary of the beginning of the First World War, Songs of Vain Glory draws from a wider range of songs in English depicting the excitement, disillusionment and peace of those who must leave to fight and the love, fear and loss of those left behind. From the timeless, astral perspective of Finzi’s ‘At a lunar eclipse’ to the oceanic depths of Elgar’s ‘Submarines’ and the cosy evergreen ‘We’ll gather lilacs’.
Recorded live at Wigmore Hall, London, on 14 December 2014

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Musics

Sabine Weyer – Bach to the Future (2018)

Sabine Weyer – Bach to the Future (2018)
Classical | WEB FLAC (tracks) & d. booklet | 186 MB
Label: Ars Produktion | Tracks: 16 | Time: 61:38 min
At the age of only 28, Luxembourgian pianist Sabine Weyer was appointed professor at the Conservatory of the City of Luxembourg in 2016. A special appointment that shows how respected the young artist already is. On her latest recording ‘Bach to the Future’ on Ars Produktion, works by Bach and their arrangements by Busoni, Saint-Sans and Siloti can be heard. Weyer writes of her new release: Bach to the future. Borrowing the title from Robert Zemeckis science fiction movie, I conceive of J.S. Bach as a central figure, as a composer with profound influence on the future course of music history, through the prism of a number of transcriptions by other composers. These works surround Bachs oeuvre like a series of future scenarios and guide the listener through a journey of discovery.

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Robert Finley – Goin' Platinum! (2017)

Robert Finley – Goin’ Platinum! (2017)
EAC Rip | FLAC (tracks)+cue, log, m3u, d. booklet, front & back cover | 168 MB
Label: Easy Eye Sound EES-002 | Tracks: 10 | Time: 31:35 min
Blues, Soul, R&B
Soul and blues singer Robert Finley will release his second studio album, Goin’ Platinum! via Easy Eye Sound. The album captures a singer at his prime, surrounded by all-time- great session musicians with skill to match his singular voice, including drummer Gene Chrisman (Elvis Presley, Aretha Franklin) keys player Bobby Woods (JJ Cale, Bobby Womack), horns players from Preservation Hall and legendary guitarist Duane Eddy. Goin’ Platinum! was co-written and produced by The Black Key’s Dan Auerbach and also features writing credits by legendary songwriters John Prine, Nick Lowe, and Pat McLaughlin. These guys are legends in their own time, Finley says. I’m grateful to be part of the team and working with such extraordinary guys. We hooked up the soul and rock and roll and made one hell of a record.
Finley, who has lost most of his eyesight and was recently forced to retire from carpentering, is a self-taught musician who started writing his own songs at age 10. Learning to play by ear, he developed a unique personal style that continues to serve him well today. When you train yourself by ear you don’t always get the chords as perfect as they should beand sometimes you stumble upon a better chord, he says. It really is a never-ending process; I’m constantly learning, and there’s always room for improvement. I’ve been playing for about 52 years; if you’re satisfied with everything you do, that don’t leave no room to grow. But the main thing, I got a great team putting this stuff together. God blessed me with the voice, but the connections are getting me in the right place at the right time in front of the right people, so I can display what I got.
It’s that kind of team-player attitude that has helped rejuvenate his career. A few years back, Finley was playing some R & B songs to a street crowd in Arkansas when he met a member of the Music Maker Foundation, an organization that provides direct support to older and underprivileged musicians. One thing led to another, and before you know it, Finley had written, recorded, and released an LP, Age Don’t Mean a Thing, on Big Legal Mess Records in the fall of 2016.
The way it happened so fast kinda surprised all of us, he says. We wasn’t looking for it to move forward at that late time in my life. It’s a win-win situation, because if I hadn’t started losing my sight I probably would have still been carpentering.
Yet another win-win would present itself when Auerbach, The Black Keys frontman and new Nashville-based record label owner, was sent a video of the musician playing songs on the street. Recognizing the singer’s immense and innate talent, he invited Finley to sing with him on the score for a friend’s graphic novela dark, bluesy project released in May called Murder Ballads. But it wasn’t until the pair got into the studio together that Auerbach fully understood the exceptional power of Finley’s voiceand where that might take them.
I realized very quickly Robert’s capable of doing so much more than old blues songs, Auerbach says. He could do a wide range of things very easily. He’s a blues guitar player, but when he puts his guitar down, you could set him in front of an orchestra and he would sing just as good as Ray Charles on the first take. He has that magnetic hugeness about his voice and just knows where to put it in the pocket, always.
And so, Auerbach gathered to his studio in Tennessee a Murderer’s Row of all-time-great session musicians to record an album of songs he had written with the likes of John Prine, Nick Lowe, Pat McLaughlin, and others, with Finley as their vocal anchor. From drummer Gene Chrisman (Elvis Presley, Aretha Franklin, Dusty Springfield) to keys player Bobby Woods (JJ Cale, Bobby Womack) to horns by Preservation Hall and guitar by the legendary Duane Eddy himself, the assemblage was nothing short of toweringand, for Auerbach, the focus on Finley provided the icing on the cake.
For me, each person playing on the record is who I consider personally to be at the peak of their job, Auerbach says. Robert is one of the greatest singers I’ve ever heard in my life, Gene Chrisman played on Natural Woman and Son of a Preacher Manall these voices coming together, all these different writers who contributed, too. This record is made with respect to the end product like they used to do on all the old soul records. I just happened to have a bunch of songs and I knew some of them Robert would killI could hear his voice, and pretty much it always turned out to be right.
The significance of the occasion and the players was not lost on Finley for a second. These guys are legends in their own timeI’m the new kid on the block, even though I’m 63 years old, I’m the youngest one in the band, Finley says. I just sat back and watched ’em, ain’t much I could tell ’em. I tried to be neutral, to make suggestions but not make any complaints. I’m just grateful to be part of the team and working with such extraordinary guys. We hooked up the soul and rock and roll and made one hell of a record with something to please everybody.
And now we have Goin’ Platinum!, the newest effort from the soon-to-be legendary soul singer Robert Finley and his crack band of geniuses. From the lovelorn bombast of If You Forget My Love to the soul-stirring Medicine Woman, and the home-on-the-road ripper Empty Arms to the yearning Honey Let Me Stay the Night, all capped by the epic closer Holy Wine, featuring Finley’s ethereal falsetto, Finley’s performance left Auerbach speechlessas it will anyone who lays ears to it.
I didn’t ever have to play him any references, I just let him sing, Auerbach says. He naturally did what the song wanted to hear. He was capable of doing it in this huge bark, this soft whisper, a falsettoI said, Can you sing falsetto’ He said, I don’t know.’ Why don’t you give it a shot and see what happens.’ And he sang Holy Wine, just like you hear it on the record. We were all sitting in the control room and my brain short-circuited.
As for the album title, Auerbach gives all credit to Finley and his huge but wholly considerate personality. He was just beaming from the second he walked in the door, Auerbach says. Every time he’d listen to playback, he’d say, It’s goin’ platinum.’ That was his catch phrase. He’s larger than life. When he walked into the session he had on a three-quarter-length leather duster, leather pants, a giant belt buckle, red sparkle shirt tucked in, cowboy hat, snakeskin cowboy boots Like he instinctually knows what to do when he’s singing, he knew this was his time to shine. Robert just showed up to work and was smiling all day long. All of us were.
For Finley, all praise is due to the practice itself, and to the instincts, ear, and company of which he is proud to be part. And from this point on, his focus now shifts to his performance and his bringing it to the people, which he is finallymagicallyable to do again on a global scale.
Now I’m concerned about delivering the message to the audience, he says. We did a great job on the recording but it’s not over yet, it’s gotta be done before the live audience, that’s when my real task comes in. What comes from the heart goes to the heart; constantly pouring your soul into it so that when you deliver it, people can feel what you feeling. To me that’s the ultimate challenge, to get them to feel what you feel. And if they do, you will know it by the end of the song.

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Riccardo Piacentini and Duo Alterno – Tosti ~ The Last Songs for Soprano and Piano (2018)

Riccardo Piacentini & Duo Alterno – Tosti: The Last Songs for Soprano & Piano (2018)
Classical, Vocal | WEB FLAC (tracks) & front cover | 255 MB
Label: Urania Records | Tracks: 24 | Time: 57:01 min
The DUO ALTERNO, defined by Los Angeles Times the high theatrics Duo with a strong personality, by The Washington Post the duo with a big voice and a fine sense of comedic timing, by la Repubblica the duo that gives voice (and piano) to the Italian century, by the Globe and Mail the inventive Duo and by The Indu of Chennai an electric experience, was born in Torino (Italy). With its performances of over than 70 Italian living composers, the DUO is considered one of the most significant reference points in the vocal-piano repertorio of works by composers ranging from the early 20th century to today. Since its debut in Vancouver in 1997 it has kept concert and master-classes in over thirty countries. Many composers (including Giacomo Manzoni and Ennio Morricone) have written pieces for soprano Tiziana Scandaletti and pianist-composer Riccardo Piacentini, both of whom are graduated with top marks in History of Music as well as in their respective fields of performance. On this new release, the Duo performs songs for soprano and piano written during the final year of Francesco Paolo Tosti’s life.

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Peterborough Cathedral Choir and Steven Grahl – Even You Song (2018)

Peterborough Cathedral Choir & Steven Grahl – Even You Song (2018)
Classical, Choral | WEB FLAC (tracks) & d.booklet | 222 MB
Label: First Hand Records | Tracks: 14 | Time: 52:00 min
The world premiere of ‘Even You Song’ took place at Peterborough Cathedral on 16 February 2017 at 6.30pm following the re-pitching of its organ from ‘Old Philharmonic’ to ‘Standard’ concert pitch.
As part of their residency at Metal Peterborough artist Bettina Furne and writer Lucy Sheerman created a choral work based on candid responses from a series of interviews with twelve Peterborough couples about a potential trip to the moon. Excised, edited and rearranged, these form the basis of a new libretto, which reflects the format of Evensong. The words of the Magnificat and Nunc Dimittis remain unchanged. The work incorporates digital projections of domestic interiors, captured during the interviews.

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Peter Hostage – Uptown (2018)

Peter Hostage – Uptown (2018)
Jazz, Vocal Jazz, Blues | MP3 CBR 320 kbps | 00:48:06| 110 MB
Label: Mrb
Uptown is the new album, released January 2018. Uptown is a collection of original jazz and blues, written, performed and produced by Peter Hostage. Peter sings, and plays piano, organ, guitar, bass and drums.

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