MQS Albums Download

產品名稱: 床前明月光 (SACD) (首批限量版)
歌手名稱: 梅艷芳 (歌手)
推出日期: 2015-02-13
語言: 國語
製作來源地: 台灣
光碟格式: Super Audio CD

內容簡介／曲目
梅艷芳
【女人花】、【床前明月光】、【沒話說】
1經典專輯＋2重唱收藏
3張國語大碟極緻SACD 高音質永久完美典藏
日本生產原音重現
採用SACD的DSD + Super Bit Mapping Direct技術處理，日本壓製生產。
香港發行之貨品首批印有頭版1-1000編碼

01. 床前明月光
02. 女兒紅
03. 想得開
04. 挑剔
05. 我看著寂寞長大
06. 眼中釘
07. 愛上狼的羊
08. 飄零
09. 東西
10. 空城

Download:

mqs.link_AnitaMui2015SACD.part1.rar
mqs.link_AnitaMui2015SACD.part2.rar
mqs.link_AnitaMui2015SACD.part3.rar

索尼精选 FLAC 24bit/96kHz

產品名稱: 沒話說 (SACD) (首批限量版)
歌手名稱: 梅艷芳 (歌手)
推出日期: 2015-02-13
語言: 國語
製作來源地: 台灣
光碟格式: Super Audio CD

yesaisa

01. 長籐掛銅鈴
02. 大江東去
03. 癡癡地等
04. 今宵多珍重
05. 你把我灌醉
06. 沙灘
07. 用心良苦
08. 下輩子別再做女人
09. 感情包袱
10. 昨天你去哪啊

Download:

mqs.link_AnitaMuiMeiHwaShu2015SACD.part1.rar
mqs.link_AnitaMuiMeiHwaShu2015SACD.part2.rar
mqs.link_AnitaMuiMeiHwaShu2015SACD.part3.rar

FLAC 24bit/96kHz

仲道郁代 & パーヴォ・ヤルヴィ指揮ドイツ・カンマーフィル
レーベル Sony Music Labels Inc.
配信開始日 2016.04.13
収録曲数全10曲
販売データハイレゾ｜DSD(DSF)｜2.8MHz/1bit

http://mora.jp/package/43000001/4547366262308/

収録曲

1-ピアノ協奏曲第1番ハ長調作品15　第1楽章 13:28
2-ピアノ協奏曲第1番ハ長調作品15　第2楽章 10:17
3-ピアノ協奏曲第1番ハ長調作品15　第3楽章 08:49
4-ピアノ協奏曲第2番変ロ長調作品19 第1楽章 13:56
5-ピアノ協奏曲第2番変ロ長調作品19　第2楽章 08:07
6-ピアノ協奏曲第2番変ロ長調作品19　第3楽章 05:58
7-ピアノと管弦楽のためのロンド変ロ長調 WoO7 08:55
8-ピアノ協奏曲第4番ト長調作品58　第1楽章 18:30
9-ピアノ協奏曲第4番ト長調作品58　第2楽章 04:56
10-ピアノ協奏曲第4番ト長調作品58　第3楽章 09:40

仲道郁代 & パーヴォ・ヤルヴィ指揮ドイツ・カンマーフィル
レーベル Sony Music Labels Inc.
配信開始日 2016.04.27
収録曲数全6曲
販売データハイレゾ｜DSD(DSF)｜2.8MHz/1bit

http://mora.jp/package/43000001/4547366262568/

収録曲

1. ピアノ協奏曲第5番変ホ長調 Op.73「皇帝」 I.Allegro
2. ピアノ協奏曲第5番変ホ長調 Op.73「皇帝」 II.Adagio un poco moto – attacca:
3. ピアノ協奏曲第5番変ホ長調 Op.73「皇帝」 III.Rondo: Allegro
4. ピアノ協奏曲第3番ハ短調 Op.37 I.Allegro con brio
5. ピアノ協奏曲第3番ハ短調 Op.37 II.Largo
6. ピアノ協奏曲第3番ハ短調 Op.37 III.Rondo: Allegro

Download:

mqs.link_BeethvenPianCncertsDSD.part1.rar
mqs.link_BeethvenPianCncertsDSD.part2.rar
mqs.link_BeethvenPianCncertsDSD.part3.rar
mqs.link_BeethvenPianCncertsDSD.part4.rar
mqs.link_BeethvenPianCncertsDSD.part5.rar
mqs.link_BeethvenPianCncertsDSD.part6.rar
mqs.link_BeethvenPianCncertsDSD.part7.rar
mqs.link_BeethvenPianCncertsDSD.part8.rar

The Viennese newspapers of 23 March 1784 announced a concert at the Imperial Royal National Court Theatre to be given by the clarinettist Anton Stadler, ‘at which, among other well chosen pieces, a large wind work of a very special kind composed by Herr Mozart will be performed’. A member of the audience, Johann Friedrich Schink, listed the thirteen instruments in his diary and noted that ‘at each instrument sat a master – oh, what an effect it made – glorious and grand, excellent and sublime!’ Although Schink heard only four movements, this must have been the Serenade in B flat, K361. (The misspelt title ‘Gran Partitta’ and the erroneous date ‘1780′ were added to Mozart’s manuscript by an unknown hand.) Mozart was a close friend of Anton Stadler, and later wrote the Clarinet Concerto and Quintet for him: in his honour, Mozart augmented the basic ‘Harmonie’ octet with a second pair of horns, two basset-horns and a string bass (or contrabassoon), thus creating this ‘large wind work of a very special kind’. We do not know which four movements Schink heard; nor do we know when, or for what occasion, the remaining three movements were added.

An impressive slow introduction establishes the first clarinet’s leading role from the opening bars, and leads to a fully worked-out monothematic sonata movement on a symphonic scale. The Minuet which follows has two contrasting Trios; the first Trio is a showcase for the pairs of clarinets and basset-horns (the basset-horn is an alto clarinet with an extended lower register).

The third movement, Adagio, sets up a gently throbbing syncopated pulse over which a long melody is unhurriedly unfolded by oboe, clarinet and basset-horn in turn. The second Minuet again has two contrasting Trios; then follows a Romance, a hymn-like Adagio in triple time, interrupted by a stormy minor-key middle section with busy passage-work for bassoons.

The ‘Theme with Variations’ constitutes the most substantial section of the work. It started life in a very different guise, as a movement of a C major Quartet for flute and strings (K285b) of 1778; in translating it to the larger forces of the wind ensemble, Mozart endows this apparently featherweight piece with a magical range of tone-colours – most memorably in the fifth variation, in which the clarinets and basset-horns lay down a soft carpet of undulating demisemiquavers to support the oboe’s melodic line.

The boisterous Rondo finale provides an exhilarating release of tension; all the instruments in turn are given a last opportunity for virtuoso display before the final headlong dash to the finishing line.

Tracklist:
01 – I Allegro (Serenade No. 12 in C Minor K388 ‘Nacht Musique’)
02 – II Andante (Serenade No. 12 in C Minor K388 ‘Nacht Musique’)
03 – III Menuetto in Canone (Serenade No. 12 in C Minor K388 ‘Nacht Musique’)
04 – IV Allegro (Serenade No. 12 in C Minor K388 ‘Nacht Musique’)
05 – I Largo (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)
06 – II Menuetto (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)
07 – III Adagio (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)
08 – IV Menuetto – Allegretto (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)
09 – V Romanze – Adagio (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)
10 – VI Tema con Varizioni (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)
11 – VII Rondo (Serenade No. 10 in B Flat Major K361 ‘Gran Partita’)

Download:

mqs.link_Chamber_Slists_f_the_RP_Mzart._Wind_Serenades_2007_Naim_24882.part1.rar
mqs.link_Chamber_Slists_f_the_RP_Mzart._Wind_Serenades_2007_Naim_24882.part2.rar

Charles Munch, Boston SO – Berlioz: Symphonie Fantastique (1962/2012)
FLAC (tracks) 24 bit/192 kHz | Time – 49:01 minutes | 1,85 GB | Genre: Classical
Studio Master, Official Digital Download – Source:HDTT | Artwork: CD Artwork

…Munch and his orchestra are utterly persuasive in their view of the work and thanks to HDTT, they are with us again in wonderful, near-analogue sound. Incidentally, this 1962 version is rarely seen on a reissue, the 1956 version is the one thats almost always used….

…In any event, it became and has remained one of the most popular orchestral works in the classical repertoire. In the hands of Charles Munch and the Boston Symphony Orchestra, the acknowledged mid-twentieth century leaders of French music performance, it is predictably clear, light, airy, and utterly refined. In this superbly engineered transfer from a four track RCA analogue tape (1962) made in Boston’s Symphony Hall, even in its richest instrumental sections, it literally floats before us, naturally warm and breathy. Low strings are especially present, well-defined, and full, grounding the work but without raising any Dionysian issues. This is an early nineteenth century fantasy, Munch reminds us: Freud is not yet on the scene. The famous “March to the Scaffold” takes place in splendidly bright, brass-lit sunlight. And the “Dream of the Witches’ Sabbath” is a manic olio of puckishness, melodrama, and brio, ending in one of music history’s most fulsome conclusions. It is all seemingly composed to show off the virtuosity of the orchestra, which it does in spades. It is a veritable guide to the orchestra, precursor of Britten’s nearly a century later.

Tracklist:
01 – Daydreams – Passions
02 – A ball
03 – Scene in the Country
04 – March to the Scaffold
05 – Dream of a Witches Sabbath

Source used for Transfer: Transferred from a RCA 4-track tape
Recording Info: Recorded 1962
Producer: Richard Mohr
Engineer: Robert Layton
Venue: Boston Symphony Hall

Download:

mqs.link_Charles_Munch_Bstn_S_Berliz._Symphnie_Fantastique_1962_2012HDTT_24192.part1.rar
mqs.link_Charles_Munch_Bstn_S_Berliz._Symphnie_Fantastique_1962_2012HDTT_24192.part2.rar

Time/Life centers around two live recordings—the final recordings with Charlie Haden and his Liberation Music Orchestra–from the 2011 Middelheim Festival: Haden’s 1979 composition Song for the Whales and Miles Davis’ Blue In Green, both arranged for orchestra by Carla Bley. After Haden’s death in 2014, the LMO, with the help of Carla Bley, Steve Swallow, and Ruth Cameron, recorded three works by Bley to create an album that honored Haden and his concern for the environment. This is that tribute.

Tracklist
01. Blue In Green
02. Time / Life
03. Silent Spring
04. Útviklingssang
05. Song For the Wales

Musicians
Charlie Haden – bass on 1, 5
Carla Bley – conductor, piano
Steve Swallow – electric bass on 2-4
Tony Malaby – tenor sax
Chris Cheek – tenor sax
Loren Stillman – alto sax
Michael Rodriguez – trumpet
Seneca Black – trumpet
Curtis Fowlkes – trombone
Vincent Chancey – French horn
Joseph Daley – tuba
Steve Cardenas – guitar
Matt Wilson – drums

Download:

mqs.link_Charlie_Haden_Liberatin_Music_rchestra_TimeLife_2016_HDTracks_2496.part1.rar
mqs.link_Charlie_Haden_Liberatin_Music_rchestra_TimeLife_2016_HDTracks_2496.part2.rar

The adventurous trio Chat Noir has for the past 12 years defied easy categorization with its organic mix of ambient music, electronic textures as well as chamber music and jazz. Their singular approach to the piano trio, cinematic in scope and startlingly beautiful, has garnered critical raves throughout Europe. On Nine Thoughts for One Word, their sixth recording overall and second for London-based RareNoise Records, the two founding members, pianist Michele Cavallari and bassist Luca Fogagnolo, are joined in their further explorations by electronic/ambient music composer and producer Jan Peter Schwalm (Brian Eno, Eivind Aarset). Together they make a conceptual leap on what a piano trio can be, with the invaluable input of Schwalm’s studio magic.

This delicate balance of electronic experimentalism with acoustic piano and acoustic bass has been evolving gradually from the group’s initial release in 2006, Adoption, and continued on 2007’s Decoupage through 2008’s Difficult to See You. 2011’s Weather Forecasting Stone and 2014’s Elec3Cities. Their collective experimentation continues on the evocative Nine Thoughts for One Word. “Experimentation has always been a fundamental part of our work,” says bassist Fogagnolo. “We would describe our journey as a ship adrift. If jazz was our starting point we’ve always felt free to explore different languages.”
From the dramatic peaks of “Eternally Tranquil Light,” grounded by the resonant, woody tones of Fogagnolo’s upright bass, to the lyrical delicacy of Cavallari’s piano on “Fundamental Mind,” from the throbbing techno vibe of “Blinking Neon” to the Indonesian gamelan flavored introspection of “Detuning Leaves” and the mesmerizing trip-hop of “Uneven” and “Soft Ground,” Chat Noir explores myriad musical languages on Nine Thoughts for One Word. They also offer a very pleasing vocal number, “Momentarily Continual,” which is underscored by the pure, resonant tones of Fogagnolo’s upright bass, and they close out the program on a gentle note with Cavallari’s sparse piano work on the hymn-like “Crystallized Flow.”
“This album has more spatial sound and compositions, which in turn may sound (paradoxically) more ‘acoustic’,” Cavallari explains. “‘Crystallized Flow’ is pointing towards this different, more spacious dimension, which is also linked to the new lineup and to the role that J. Peter in particular had in our project.”
Though Schwalm trained as a drummer, he is now playing mainly electronic instruments and music. “We met him at a festival in Norway (Punkt 2008) and immediately fell in love with his style,” Cavallari recalls. “As we rearranged our lineup about one year ago, we decided to ask him for collaboration. For Luca and I, it was a natural choice to abandon the classic piano-bass-drums format and try something different, but in line with the evolution of our style, which incorporated more and more electronic textures over the years. Peter brought in his experience with sound processing and treatments, as well as his personal taste as co-producer of the album. Given his strong background in ambient music, his participation in the project sound-wise contributed to the very spacious dimension of the album, in line with the already ethereal vibe of the compositions.”
As for his longstanding musical relationship with Fogagnolo, Cavallari says, “Luca and I are good old pals. Our friendship and music collaboration informs one another. On the one hand, music made our friendship even stronger. On the other hand, we can rely on shared ideas about music, and even more generally about life, when playing together. It’s a constant dialog of spoken as well as unspoken words.
“We often have similar taste for music,” he continues. “But more importantly, when coming from different musical references and preferences, Luca and I have contributed even more to each other’s musical ideas and ways to perform.”
Cavallari adds that his method of playing and recording together with Fogagnolo changed radically four years ago when the two Italians relocated to different countries – Michele to the United States and Luca to Germany. “Our rehearsal room changed from being a shared space, where we used to physically meet quite often, to a virtual place. Nine Thoughts for One Word is our second album recorded through cloud-based sharing of music ideas and sessions. This wouldn’t have been possible without a long-term relationship. But somehow the distance helped to develop even more our personal taste, before sharing ideas for new tunes as we’ve always done. In the process of developing new tunes, we can count on a strong shared basis, established throughout our long collaboration, as well as on a naïve attitude and openness towards different ideas, and potentially surprises.”
He further describes the group’s modus operandi on Nine Thoughts for One Word: “Our approach is to try to understand where the composition is pointing to and to give meaningful contribution to it, by either contrasting or corroborating the original idea. Basically, the process we follow to compose and play together is grounded in the root of two essential and mutually reinforcing aspects: friendship and freedom.” Cavallari also explains that he and Fogagnolo have joint experience working on soundtrack recordings, which may explain why so much of their music has such a cinematic quality. “We did work on movie soundtracks in the past. Some of our tunes were featured in Cristina Comencini’s films – Don’t Tell (nominated for best foreign language film category at the 78th Academy Awards) and Black and White – as well as Francesca Comencini’s documentary In Fabrica. Our music has often been associated with cinematic features. Rather than thinking visually when composing, I guess we approach compositions in away that has similarities with film direction. We try to develop ‘stories’ and ‘plots’ through melodic lines and sometimes more abstract parts that overall follow a dynamically organized flow.
“As to the our way to approach compositions, either one of us usually ‘plants the seed’ of a new tune on his own. Then, from the original basic idea, we let the other totally express himself without limitations. Sometimes we go through multiple iterations of sending music ideas back and forth between us, as additional contributions can inspire new direction of the tune. It never happens that we don’t like what the other brought in terms of contribution to the song. In this sense we are totally connected.”
It is easy to see how such kindred spirits continue to collaborate and thrive, even when living on separate continents. And together with ambient mixmaster Schwalm, they travel to some wholly new musical territory on Nine Thoughts for One Word, the most transcendent Chat Noir release to date.

Tracklist:
01 – Eternally Tranquil Light
02 – Fundamental Mind
03 – Momentary Continual
04 – Blinking Neon
05 – Detuning Leaves
06 – Uneven
07 – Soft Ground
08 – Crystallized Flow

Musicians:
Michele Cavallari – keyboards, piano
Luca Fogagnolo – e-bass, upright bass, trombone
J. Peter Schwalm – electronics, beats, keyboards, acoustic guitar
with
Daniel Calvi – guitars on “3,4,7”
Alessandro Tomaselli – voice on “3”

Download:

mqs.link_Chat_Nir_Nine_Thughts_Fr_ne_Wrd_2016_RareNise_2496.rar

Chihiro Yamanaka is a Japanese jazz pianist and composer. Guilty Pleasure her post bop recording released in 2016 on Blue Note Records in Japan…

Speaking of melodies of jazz, as is the commonly recognized equation, melodies of original works very often tend to be all instrumental-focused. Yet, some of you may expect more vocal-friendly, naturally-go-well-with-lyrics melodies to be created sometimes. Then this, the latest from a prominent jazz artist/piano virtuoso Chihiro Yamanaka, is just right for you. Recorded in NY with familiar members from her own regular trio, the 11-track album carries 8 original tunes of her own out of which some depict a refreshing afternoon sunshine, some hinting almost heartbreaking melancholy, or some being wrapped in an electro-mood. The other cover numbers of her choice include a famous jazz standard with a surreal-arrangement and Japanese rock band Godiego’s tune (nice surprise!), fully and notably representing the Yamanaka-ism herein.

Tracklist:
01 – Clue
02 – Guilty Pleasure
03 – Caught In The Rain
04 – Life Goes On
05 – The Nearness Of You
06 – At Dawn
07 – Hedge Hop
08 – Moment Of Intertia
09 – Guilty Pleasure Reprise
10 – Meeting You There
11 – Thank You Baby

Produced by Chihiro Yamanaka.
Engineered by Eric Elterman. Recorded at Eastside Sound on March 2016.
Mastered by Greg Calbi at Steling Sound on April 18, 2016.

Musicians:
Chihiro Yamanaka – Piano, Electric Piano [Fender Rhodes], Organ [Hammond B-3]Yoshi Waki – Bass
John Davis – Drums

Download:

mqs.link_Chihir_Yamanaka_Guilty_Pleasure_2016_enky_24192.part1.rar
mqs.link_Chihir_Yamanaka_Guilty_Pleasure_2016_enky_24192.part2.rar

Frederic Chopin – 24 Preludes, Barcarolle, Berceuse & Variations brillantes – Dong Hyek Lim (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:00:53 minutes | 980 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Warner Classics
Recorded: 27–29 March 2015, Henry Wood Hall, London

Dong Hyek Lim arrived on the scene at just 18 years old ‘in a blaze of pianistic glory’ (Gramophone) with a debut album championed by his mentor Martha Argerich. The South Korean virtuoso went on to take third prize in the 15th International Chopin Piano Competition. Ten years later, following studies with Emmanuel Ax at the Juilliard School in New York, his artistry has matured and deepened for this long-awaited recital of the 24 Preludes and other works by Chopin – a composer who remains especially close to his heart. His new recital of works by Chopin, centred on the set of 24 Preludes, continues a relationship with the label that goes back to 2002. Lim, then just 18 years old, was introduced to the world with a CD in the ‘Martha Argerich Presents’ series. Gramophone noted his arrival “in a blaze of pianistic glory”, while in France, the album was awarded the prestigious Diapason d’Or. It was followed in 2008 with an album of Bach’s Goldberg Variations coupled with the Bach-Busoni Chaconne. The French magazine Le Monde de la Musique awarded it a ‘Choc’, while Gramophone wrote that: “There’s no question that he’s a very impressive pianist … [who gives] the sense of profound pleasure in the music … And he’s not afraid to experiment with what he can do in this music … An artist to watch.”

Pianist Dong Hyek Lim, a bit older than the youthful face in the graphics might suggest, has gained a reputation as a Chopin specialist, with restrained, often exquisitely detailed performances made for the small recital hall rather than for the concert hall. This was, of course, the kind of venue for which Chopin wrote most of his music, and this is a very fine tour through the much-recorded 24 Preludes, Op. 28, which form the centerpiece of this album. Lim does well to introduce things with the flashier and rarely played Variations brillantes in B flat major, Op. 12, commanding the listener’s attention before delving into the Preludes, some of the most harmonically intricate music Chopin wrote. Sample any of the really famous Preludes, such as the Prelude in E minor, Op. 28, No. 4, for an idea of what Lim is up to here: he not only lingers over dissonances, but explores their potential directions with sensitivity and intelligence, all while keeping the top of the dynamic range not very high. Lim takes you back to the public world with the Berceuse in D flat major, Op. 57, and Barcarolle in F sharp major, Op. 60, which show him to be capable of a more brilliant style. London’s Henry Wood Hall fits these pieces well, but Warner’s engineers might have gone with even a more intense, intimate space for the preludes. In any event, the performance of those is one of the most absorbing to have come along in quite some time. ~~ AllMusic Review by James Manheim

Tracklist:
Frédéric Chopin (1810–1849)
Variations brillantes in B flat major on
‘Je vends des scapulaires’ from Hérold’s Ludovic, Op.12
1 I Introduction: Allegro maestoso 1.27
2 II Thème: Allegro moderato 1.51
3 III Scherzo — 0.56
4 IV Lento — 2.08
5 V Scherzo vivace 1.53
24 Preludes, Op.28
6 No.1 in C major: Agitato 0.39
7 No.2 in A minor: Lento 2.04
8 No.3 in G major: Vivace 0.53
9 No.4 in E minor: Largo 1.59
10 No.5 in D major: Allegro molto 0.34
11 No.6 in B minor: Lento assai 2.17
12 No.7 in A major: Andantino 0.50
13 No.8 in F sharp minor: Molto agitato 2.00
14 No.9 in E major: Largo 1.32
15 No.10 in C sharp minor: Allegro molto 0.27
16 No.11 in B major: Vivace 0.36
17 No.12 in G sharp minor: Presto 1.09
18 No.13 in F sharp major: Lento 3.27
19 No.14 in E flat minor: Allegro 0.29
20 No.15 in D flat major: Sostenuto 5.38
21 No.16 in B flat minor: Presto con fuoco 1.02
22 No.17 in A flat major: Allegretto 3.25
23 No.18 in F minor: Allegro molto 0.56
24 No.19 in E flat major: Vivace 1.24
25 No.20 in C minor: Largo 1.56
26 No.21 in B flat major: Cantabile 1.59
27 No.22 in G minor: Molto agitato 0.48
28 No.23 in F major: Moderato 0.59
29 No.24 in D minor: Allegro appassionato 2.19
30 Berceuse in D flat major, Op.57 4.20
31 Barcarolle in F sharp major, Op.60 8.34

Download:

mqs.link_Chpin_24_Preludes_Barcarlle_Berceuse_Variatins_brillantes_Dng_Hyek_Lim_2015_9624.part1.rar
mqs.link_Chpin_24_Preludes_Barcarlle_Berceuse_Variatins_brillantes_Dng_Hyek_Lim_2015_9624.part2.rar

Damjan Mravunac – The Talos Principle (2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:10:19 minutes | 656 MB | Genre: Score / Instrumental, Oriental, Medieval
Studio Master, Official Digital Download – Source: Steam | Artwork: Front Cover

This soundtrack is absolutely stellar. It creates a timeless atmosphere and sets the mood for the entire game

Tracklist:

01. Welcome to Heaven (02:21)
02. When in Rome (02:27)
03. Trials (03:48)
04. The Sigils of Our Name (02:32)
05. Temple of My Father (02:48)
06. Made of Words (04:45)
07. Sanctuary (01:54)
08. A Land of Great Beauty (03:18)
09. A Land of Ruins (02:42)
10. Before Was Only Chaos (02:17)
11. All Else Is Decay (02:54)
12. The Worlds of My Garden Are Many (02:49)
13. The Temple of the Sands (02:00)
14. The Guardians (02:21)
15. The Dance of Eternity (01:24)
16. Your Wisdom Grows (02:10)
17. Blessed and Beloved (01:50)
18. A Land of Tombs (02:17)
19. To Seek Salvation (02:21)
20. Do With It as You Will (02:09)
21. Virgo Serena (01:32)
22. The Forbidden Tower (03:44)
23. Out There (02:49)
24. Heavenly Clouds (02:40)
25. False God (03:58)
26. Blessed Messenger (00:59)
27. The End of the Process (Finale) (03:30)

Download:

mqs.link_DamjanMravunacTheTalsPrinciple20142444.1.rar

D’Angelo And The Vanguard – Black Messiah (2014)
FLAC (tracks) 24 bit/96kHz | Time – 00:56:01 minutes | 1,16 GB | Genre: R&B, Soul, Jazz Funk
Official Digital Download – Source: HDTracks | © RCA Records

D’Angelo and The Vanguard’s highly anticipated and much buzzed about brand new album, Black Messiah. Nearly 15 years in the making, Black Messiah contains 12 tracks of timeless music with poignant and provocative lyrics that requires repeat listening at maximum volume! On the album, D’Angelo is joined by his band, The Vanguard, alongside Pino Palladino, James Gadson and Questlove on various tracks on the album. All lyrics were written by D’Angelo in addition to Q-Tip and Kendra Foster who both wrote lyrics on several songs.

D’Angelo had this to say about Black Messiah in the album’s forward: “‘Black Messiah’ is a hell of a name for an album. It can be easily misunderstood. Many will think it’s about religion. Some will jump to the conclusion that I’m calling myself a Black Messiah. For me the title is about all of us. It’s about the world. It’s about an idea we can all aspire to. We should all aspire to be a Black Messiah. It’s about people rising up in Ferguson and in Egypt and in Occupy Wall Street and everyplace where a community has had enough and decides to make change happen. It’s not about praising one charismatic leader but celebrating thousands of them. Not every song on this album is politically charged (though many are) but calling this album Black Messiah creates a landscape where these songs can live to the fullest. Black Messiah is not one man. It’s a feeling that, collectively, we are all that leader.”

The one-eighty Questlove promised back in 2012, when the drummer and producer persuaded D’Angelo to perform for the first time in a dozen years, turns out to be closer to a ten. As those who caught later gigs and subsequent uploads could attest, there were no signs that D’Angelo — enigmatic maker of two classics that twisted gospel, soul, funk, and hip-hop with aloof but deep-feeling swagger — was developing his third studio album with production pointers from David Guetta or elocution lessons from Glee’s vocal director. Instead, he’s made another album that invites comparisons to the purposefully sloppy funk of Sly & the Family Stone’s There’s a Riot Goin’ On. It’s more outward-looking, refined, and bristly than what preceded it, however, and has much in common with releases from retro-progressive peers like Van Hunt and Bilal. D’Angelo retains the rhythmic core that helped him create Voodoo, namely Questlove, bassist Pino Palladino, and trumpeter Roy Hargrove, and adds many players to the mix, including guitarist Jesse Johnson and drummers James Gadson and Chris Dave. Q-Tip contributed to the writing of two songs, but a greater impact is made by Kendra Foster, who co-wrote the same pair, as well as six additional numbers, and can often be heard in the background. The societal ruminations within the fiery judder of “1000 Deaths,” the dreamy churn of “The Charade,” and the falsetto blues of “Till It’s Done,” fueled as much by current planetary ills and race relations as the same ones that prompted the works of D’Angelo’s heroes, strike the deepest. Among the material that concerns spirituality, devotion, lost love, and lust, D’Angelo and company swing, float, and jab to nonstop grimace-inducing effect. On the surface, “Sugah Daddy” seems like an unassuming exercise in fusing black music innovations that span decades, and then, through close listening, the content of D’Angelo’s impish gibberish becomes clear. At the other end, there’s “Another Life,” a wailing, tugging ballad for the ages that sounds like a lost Chicago-Philly hybrid, sitar and all, with a mix that emphasizes the drums. Black Messiah clashes with mainstream R&B trends as much as Voodoo did in 2000. Unsurprisingly, the artist’s label picked this album’s tamest, most traditional segment — the acoustic ballad “Really Love” — as the first song serviced to commercial radio. It’s the one closest to “Untitled (How Does It Feel),” the Voodoo cut that, due to its revealing video, made D’Angelo feel as if his image was getting across more than his music. In the following song, the strutting “Back to the Future (Part I),” D’Angelo gets wistful about a lost love and directly references that chapter: “So if you’re wondering about the shape I’m in/I hope it ain’t my abdomen that you’re referring to.” The mere existence of his third album evinces that, creatively, he’s doing all right. That the album reaffirms the weakest-link status of his singular debut is something else. –Andy Kellman

Tracklist:
1 Ain’t That Easy 4:49
2 1000 Deaths 5:49
3 The Charade 3:20
4 Sugah Daddy 5:02
5 Really Love 5:44
6 Back To the Future (Part I) 5:22
7 Till It’s Done (Tutu) 3:51
8 Prayer 4:32
9 Betray My Heart 5:55
10 The Door 3:08
11 Back To the Future (Part II) 2:24
12 Another Life 5:58

Personnel:
D’Angelo – piano, synthesizers, organ, keyboards, guitar, bass, sitar, background vocals
Spanky Alford, Jesse Johnson, Mark Hammond – guitar
Isaiah Sharkey – sitar, guitar
Pino Palladino – bass
Ahmir “?uestlove” Thompson – drums, drum programming
James Gadson, Chris Dave – drums
Kendra Foster, Jermane Holmes, Ahrell Lumzy – background vocals
Roy Hargrove – trumpet, cornet, flugelhorn, brass
Alex Budman, Anatoly Rosinsky, Assa Drori, Bill Reichenbach (2), Chuck Berghoffer*, Elizabeth Wilson (3), Maurice Grants – strings, woodwind
Brent Fischer – conductor
Gina – vocals [spoken word]

Download:

mqs.link_DAngelAndTheVanguardBlackMessiah2014HDTracks2496.part1.rar
mqs.link_DAngelAndTheVanguardBlackMessiah2014HDTracks2496.part2.rar

D’Angelo – Brown Sugar (1995/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 00:53:14 minutes | 2,12 GB | Genre: R&B, Soul, Jazz Funk
Studio Masters, Official Digital Download – Source: PonoMusic | © Virgin Records
Recorded: 1994–95, Battery Studios and RPM Studios in New York City, and Pookie Lab in Sacramento

Brown Sugar is the debut album of American recording artist D’Angelo, released on July 4, 1995, by EMI Music. Recording sessions for the album took place from 1994 to 1995 at Battery Studios and RPM Studios in New York City and at the Pookie Lab in Sacramento. Production, instrumentation, arrangements, and songwriting were primarily handled by D’Angelo, who employed both vintage recording equipment and modern electronic devices. Brown Sugar contains themes of love and romance, and features a fusion of contemporary R&B and traditional soul music, along with elements of funk, quiet storm, and hip hop music.

Brown Sugar debuted at number six on the US Billboard Top R&B Albums chart, selling 300,000 copies in its first two months. With the help of its four singles, it spent 65 weeks on the Billboard 200 chart and attained platinum shipments within a year of its release. Upon its release, Brown Sugar received acclaim from music critics and earned D’Angelo several accolades, including four Grammy Award nominations. Regarded by music writers as a pivotal album in neo soul, the album provided commercial visibility to the musical movement, amid the prominence of producer-driven, digitally approached R&B.

By the mid-’90s, most urban R&B had become rather predictable, working on similar combinations of soul and hip-hop, or relying on vocal theatrics on slow, seductive numbers. With his debut album, Brown Sugar, the 21-year-old D’Angelo crashed down some of those barriers. D’Angelo concentrates on classic versions of soul and R&B, but unlike most of his contemporaries, he doesn’t cut and paste older songs with hip-hop beats; instead, he attacks the forms with a hip-hop attitude, breathing new life into traditional forms. Not all of his music works — there are several songs that sound incomplete, relying more on sound than structure. But when he does have a good song — like the hit “Brown Sugar,” Smokey Robinson’s “Cruisin’,” or the bluesy “Shit, Damn, Motherfucker,” among several others — D’Angelo’s wild talents are evident. Brown Sugar might not be consistently brilliant, but it is one of the most exciting debuts of 1995, giving a good sense of how deep D’Angelo’s talents run. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Brown Sugar 4:22
2 Alright 5:15
3 Jonz In My Bonz 5:56
4 Me And Those Dreamin’ Eyes Of Mine 4:46
5 Shit, Damn, Motherfucker 5:14
6 Smooth 4:18
7 Cruisin’ 6:28
8 When We Get By 5:48
9 Lady 5:47
10 Higher 5:27

Personnel:
D’Angelo – Arranger, Composer, Multi Instruments, Vocals
Seymour Barab – Cello
Julien Barber – Viola
Bob Brockman – Trumpet
Tim Christian – Piano
Winterton Garvey – Violin
Regis Iandiorio – Violin
Olivia Koppell – Viola
Gene Lake – Drums
Will Lee – Bass
Jesse Levy – Cello
Ali Shaheed Muhammad – Composer, Drum Programming
Dunn Pearson, Jr. – Arranger, Conductor
Bob Power – Guitar, Mixing, Multi Instruments
Sue Pray – Viola
Eufrosina Railenu – Viola
Matthew Raimondi – Violin
Ralph Rolle – Drums
Raphael Saadiq – Arranger, Bass, Composer, Guitar
Alexander Simionescu – Violin
Gerald Tarack – Violin
Laura Vivino – Flute, Piccolo
Mark Whitfield – Guitar
Marilyn Wright – Violin
Masako Yanagita – Violin

Download:

mqs.link_DAngelBrwnSugar19952015Pn24192.part1.rar
mqs.link_DAngelBrwnSugar19952015Pn24192.part2.rar
mqs.link_DAngelBrwnSugar19952015Pn24192.part3.rar

Daniel Hope – My Tribute to Yehudi Menuhin (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:40:56 minutes | 1,73 GB | Genre: Classical
Studio Master, Official Digital Download – Source: highresaudio.com | © Deutsche Grammophon
Recording: Müllheim, Martinskirche & Berlin, Teldex Studio, 9/2015

This year marks the 100th anniversary of violin legend Yehudi Menuhin, and Daniel Hope dedicates a complete album to his former mentor and close friend. After fleeing from the Apartheid regime in South Africa, and ending up in England,

Yehudi Menuhin is the reason I became a violinist. As he used to say, I fell into his lap as a baby of two.
For my parents, life in 1970s South Africa had become intolerable, marked as it was by that tragedy mingled with farce, so characteristic of the appalling apartheid regime. We lived in Durban, where my father co-founded the literary magazine Bolt, publishing poems by writers of many races. From that moment on, his phone was tapped and my parents were placed under permanent surveillance. They had no option but to leave the country, but my father was only offered a so-called exit permit. This meant you could leave but never return.
My parents settled in London, where very soon their money ran out. We had nowhere to go.

At the eleventh hour, facing a calamity, we had some incredible luck: an employment agency offered my mother a compelling choice of jobs: secretary to either the Archbishop of Canterbury or to the violinist, Yehudi Menuhin. She chose Menuhin, and their association lasted 24 years until his death.

Our life changed immediately and forever. For the next years, I grew up in Menuhin’s house in Highgate, London, where my mother would take me every day to play, while she worked. Menuhin was a wonderfully spontaneous man. He’d leave his Guarneri del Gesù in an open violin case on the table, he never put it away. He picked it up and played it, almost as if he were drinking a glass of water. He once told me: “One has to play every day. One is like a bird, and can you imagine a bird saying ‘I’m tired today, I don’t feel like flying’?” The violin was a part of him. To this day, his sound remains in my ear, so unique and so fascinatingly beautiful.
Where does one even begin to summarize a unique career spanning seventy-five years by one of the greatest musicians in history? Perhaps Menuhin’s debut in 1924 in San Francisco at the age of seven; or his debut in Berlin in 1929, after which Albert Einstein exclaimed “Now I know there is a God in heaven!” Or his performance and legendary recording of the Elgar concerto under the composer’s baton in 1932; perhaps his visit to the liberated concentration camp of Bergen-Belsen with the composer Benjamin Britten in 1945; or his highly controversial decision to return to Germany in 1947 and to perform with Wilhelm Furtwängler and the Berlin Philharmonic, the first Jewish artist after the war to do so. Only seven of Menuhin’s 82 years were not spent on the road.

Early on in my life, I had the chance to study and perform some of Bartok’s Duos with Menuhin. It was an incredible experience for me, and an introduction to Bartok’s extraordinary music. Many years later, with Menuhin in his role as conductor, we performed over 60 concerts around the world, including almost all of the standard violin concerti, as well as several contemporary works.

These included Mendelssohn’s early D minor Concerto, which he famously discovered in 1951, and also many works for two violins, such as the A minor Double Concerto by Vivaldi.

On 7th March 1999, I played Alfred Schnittke’s Concerto in Düsseldorf, conducted by Lord Menuhin. It was to be Yehudi’s final concert. After the Schnittke, Menuhin encouraged me to play an encore. I spontaneously chose Kaddish, Ravel’s musical version of the Jewish prayer for the dead. I had grown up on Menuhin’s interpretation of this work and wanted to dedicate it to him. Menuhin pushed me out onto the stage and sat amongst the orchestra listening to it. Perhaps it may have been in some way prophetic. Five days later, he passed away.
There’s hardly a passage in all of these great works where I don’t stop for a minute and think of Menuhin.
Yehudi called himself my “musical grandfather”. Now, in celebration of what would have been his centenary, my friends and I can finally pay our respects to this great man, in a manner I feel certain he would have loved. –Daniel Hope

Tracklist:

Felix Mendelssohn (1809-1847)
Violin Concerto in D minor
1. 1. Allegro 10:00
2. 2. Andante 08:33
3. 3. Allegro 04:08

Bechara El-Khoury (*1957)
4. Unfinished Journey 08:25

Steve Reich (*1936)
Duet for two Violins and Strings
5. Duet 04:56

Antonio Vivaldi (1678-1741)
Concerto For Two Violins And Strings In A Minor, RV 522
6. 1. Allegro 03:19
7. 2. Larghetto e spiritoso 03:51
8. 3. Allegro 02:52

John Tavener (1944-2013)
For Soprano, Violin and Strings
9. Song Of The Angel 04:11

Arvo Pärt (*1953)
For Violin, Tubular and Strings
10. Darf ich … 03:32

Toru Takemitsu (1930-1996)
For Violin and Stings
11. Nostalghia. In Memory Of Andrei Tarkovskij 16:18

Hans Werner Henze (1926-2012)
Serenade for Violin, Cello and Piano
12. Adagio adagio 04:20

Edward Elgar (1857-1934)
For Violin, Piano and Strings
13. Salut d’amour, Op. 12 03:11

Béla Bartók (1881-1945)
44 Duos for two Violins
14. No. 35: Rutén kolomejka 01:07
15. No. 28: Bánkódás 02:20
16. No. 15: Katonanóta 01:06
17. No. 14: Párnás Tánc 00:34
18. No. 32: Máramarosi Tánc 00:40
19. No. 36: Szól a duda 00:57

Georg Enescu (1881-1955)
For Violin and Piano
20. Hora Unirii 01:47

Jo Kunümann (1895-1952)
For Violin, Mandolin, Piano and Strings
21. Rumänisch 05:17

Edward Elgar (1857-1934)
For Violin and Piano
22. Chanson de nuit, Op. 15, No. 2 03:50

Maurice Ravel (1875-1937)
For Violin and Piano
23. 1. Kaddisch 05:42

Personnel:
Daniel Hope violin, direction
(Daniel Hope plays the “Ex-Lipiński” violin, an instrument made by Giuseppe Guarneri del Gesù in 1742 and made available to the violinist by a German family that wishes to remain anonymous.)
Daniel Lozakovitj violin (Bartók)
Simos Papanas violin (Reich, Vivaldi)
Christiane Starke cello (Henze)
Jacques Ammon piano (Henze, Elgar, Enescu, Ravel, Knümann)
Avi Avital mandolin (Knümann)
Chen Reiss soprano (Tavener)
Emanuele Forni Baroque guitar and lute (Vivaldi)
Naoki Kitaya harpsichord (Vivaldi)
Alex Wäber tubular bells (Pärt)
Kammerorchester Basel (Mendelssohn, El-Khoury, Reich, Vivaldi, Tavener, Pärt, Takemitsu)
Members of the Deutsches Kammerorchester Berlin (Elgar, Knümann):
Hannah Perowne, Roeland Gehlen, Barbara Weiche violin I
Chie Peters, Bettina Mros violin II
Sophia Reuter, Maria Jadziewicz viola
Christiane Starke cello · Christoph Anacker double bass

Download:

mqs.link_DanielHpeMyTributetYehudiMenuhin2016HRA2496.part1.rar
mqs.link_DanielHpeMyTributetYehudiMenuhin2016HRA2496.part2.rar

Astor Piazzolla – Cierra tus ojos – Daniel Mille (2014)
FLAC (tracks) 24-bit/88,2 kHz | Time – 00:55:30 minutes | 990 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | @ Après la pluie/Sony Music

Avec “Cierra tus ojos”, Daniel Mille présente un projet à la lisière du Jazz, de la world et du classique. Très loin des clichés du tango, Daniel Mille, son génial arrangeur-réalisateur Samuel Strouk, et ses musiciens nous offrent un traitement unique de l’univers de Piazzolla, tout en intimité, pour accordéon, 3 violoncelles et contrebasse. Mille, dans le costume du maestro, est à la fois si Mille, et si Piazzolla. Si magistral et si modeste. Il manie les éléments mêmes légués par Piazzolla : une diversification tentaculaire des chemins des possibles, l’invention d’un territoire. Sculptant silences et voix subliminales. Le mot est galvaudé mais il faut l’oser ici… Un disque sublime!

Parmi les nombreux artistes que Pierre Barouh, fondateur du label Saravah, a aidé à percer, il y a Daniel Mille, l’accordéoniste qu’il a entendu un soir de 1993 jouer de son instrument attrape-cœurs dans les rues de Tulle.
Sur les quais, son premier album, sortira la même année, et le deuxième, Les Heures Tranquilles, deux ans plus tard, recevra le Django d’Or du meilleur espoir.
Grâces soient rendues à Pierre Barouh car, depuis, Daniel Mille n’a cessé de nous accompagner et nous est même devenu nécessaire à chaque fois que notre âme défaillante réclame un peu de consolation.
Car sa musique, si déchirante parfois, nostalgique, envoûtante, pleine de fantômes et de paysages, qui laisse leur place aux mots, qu’ils soient prononcés ou pas, nous permet de nous sentir un peu plus humains.
Cierra tus ojos est la reprise de onze titres d’Astor Piazzola, certains célébrissimes comme Libertango , mais la plupart sont des œuvres plus atmosphériques, plus jazz que tango, qui, ici, s’étirent avec sensualité, dans une sorte d’apesanteur irréelle. Aux côtés de Daniel Mille, trois violoncellistes magnifiques, Grégoire Korniluk, Paul Colomb et Frédéric Deville, et la contrebasse jazzy de Diego Imbert.

Tracklist:
Astor Piazzolla (1921-1992)
1 Melodía en La menor 4:12
2 Chiquilín de Bachín 5:26
3 Cierra tus ojos y escucha 4:26
4 Llueve sobre Santiago 3:42
5 Milonga del Angel 6:21
6 Libertango 3:31
7 Milonga para tres 6:21
8 Vuelvo al Sur 7:31
9 Oblivión 4:09
10 Los pájaros perdidos 3:54
11 Ave Maria 5:57

Personnel:
Daniel Mille, accordéon
Grégoire Korniluk, Paul Colomb, Frédéric Deville, cello
Diego Imbert, bass

Download:

mqs.link_DanielMilleAstrPiazzlla.Cierratusjs2014Qbuz24882.part1.rar
mqs.link_DanielMilleAstrPiazzlla.Cierratusjs2014Qbuz24882.part2.rar

Danny Driver – Carl Philipp Emanuel Bach: Keyboard Sonatas vol. II (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 73:37 minutes | 1,09 GB | Genre: Classical
Official Digital Download – Source: hyperion-records.co.uk | Digital Booklet

Danny Driver proves a peerless guide to this fascinating music, performing with elegance and vigour. Hyperion presents a second volume of CPE Bach’s startlingly original and inventive keyboard sonatas. This release spans the composer’s career, taking the listener from the highly expressive manner of his early works to his mastery of the Classical style—in which he still retains the distinctive characteristics, the fantastical changes of mood and tempo which both astounded and perplexed his contemporaries.

Tracklist:
01 – Bach (CPE): Sonata in F sharp minor, H37 Wq52/4 – 1: Allegro
02 – Bach (CPE): Sonata in F sharp minor, H37 Wq52/4 – 2: Poco andante
03 – Bach (CPE): Sonata in F sharp minor, H37 Wq52/4 – 3: Allegro assai
04 – Bach (CPE): Sonata in E major, H39 Wq62/5 – 1: Allegro
05 – Bach (CPE): Sonata in E major, H39 Wq62/5 – 2: Andantino
06 – Bach (CPE): Sonata in E major, H39 Wq62/5 – 3: Vivace di molto
07 – Bach (CPE): Sonata in C minor, H121 Wq65/31 – 1: Allegro assai ma pomposo
08 – Bach (CPE): Sonata in C minor, H121 Wq65/31 – 2: Andantino pathetico
09 – Bach (CPE): Sonata in C minor, H121 Wq65/31 – 3: Allegro scherzando
10 – Bach (CPE): Sonata in A major, H135 Wq65/32 – 1: Allegro
11 – Bach (CPE): Sonata in A major, H135 Wq65/32 – 2: Andante con tenerezza
12 – Bach (CPE): Sonata in A major, H135 Wq65/32 – 3: Allegretto
13 – Bach (CPE): Fantasie in F sharp minor, H300 Wq67
14 – Bach (CPE): Rondo in D minor, H290 Wq61/4

Download:

mqs.link_DannyDriverC.P.E.Bach.KeybardSnatasVl.22012Hyperin2496.part1.rar
mqs.link_DannyDriverC.P.E.Bach.KeybardSnatasVl.22012Hyperin2496.part2.rar

Brooklyn-based composer-bandleader Darcy James Argue and his innovative 18-piece big band Secret Society will release their third album, Real Enemies, out September 30, 2016. Composed by Argue, Real Enemies is a 13-chapter exploration of America’s fascination with conspiracy theories; narratives behind the Red Scare, the Illuminati, Edward Snowden, and alien sightings are meticulously examined and interrogated through Argue’s dazzling score.

Tracklist
01. You Are Here 08:06
02. The Enemy Within 04:37
03. Dark Alliance 07:04
04. Trust No One 05:20
05. Silent Weapons for Quiet Wars 06:47
06. Best Friends Forever 04:26
07. The Hidden Hand 06:15
08. Casus Belli 05:37
09. Crisis Control 07:02
10. Apocalypse is a Process 05:47
11. Never a Straight Answer 07:27
12. Who Do You Trust? 04:17
13. You Are Here 06:01
14. Best Friends Forever (single) 04:26

Musicians
Dave Pietro – piccolo, flute, alto flute, bass flute, soprano sax, alto sax
Rob Wilkerson – flute, clarinet, soprano sax, alto sax
Sam Sadigursky – E♭ clarinet, B♭ clarinet, A clarinet, tenor sax
John Ellis – clarinet, bass clarinet, tenor sax
Carl Maraghi – clarinet, bass clarinet, baritone saxophone

Seneca Black – trumpet, flugelhorn
Jonathan Powell – trumpet, flugelhorn
Matt Holman – trumpet, flugelhorn
Nadje Noordhuis – trumpet, flugelhorn
Ingrid Jensen – trumpet, flugelhorn

Mike Fahie – trombone
Ryan Keberle – trombone
Jacob Garchik – trombone, tuba
Jennifer Wharton – bass trombone, tuba

Sebastian Noelle – acoustic & electric guitar
Adam Birnbaum – acoustic & electric piano, FM synth
Matt Clohesy – contrabass & electric bass, bass synth
Jon Wikan – drum set, cajón, misc. percussion

James Urbaniak – narrator on “Who Do You Trust?” and “You Are Here” reprise
Darcy James Argue – composer, conductor

Download:

mqs.link_DarcyJamesArguesSecretScietyRealEnemies2016Bandcamp2444.1.rar

Chesky Records takes pleasure in presenting a record that’s as sweet as a peach and dry as a martini. Sex Without Bodies is reminiscent of the post-swing, cafe society sound that belonged to stars like Peggy Lee and Chet Baker. Singer Kelly Flint uses her smoky, sultry vocal to explore a world of love, lust and venetian blinds. Composer/guitarist David Cantor writes his songs with the heart of a continental rogue’combining wit, insight and late-night cool. Together they are masters of fallen innocence. For Sex Without Bodies, they bring to Chesky a diverting ensemble including vibes, accordion, horns and a deliciously grinding stand-up acoustic bass.

A potent combination is the intelligent and earthy songwriting of David Cantor and the sultry and stylizing jazz vocals of Kelly Flint. The timbre of Kelly’s voice melds magically with the main instrumentation of stand-up bass, vibes and thoughtful drums. Individual musicians dress up several tracks on guitar, baritone sax and tenor sax. Each track stands alone strongly due to the resilient Cantor construction and Flint’s intoxicating delivery. Excepting the elevating treatment of Lou Reed’s “Walk on the Wild Side,” every track is an original deserving to stand alone as a standard. As a testament to the proficiency to the dozen-and-a-half musicians involved, the entire album was recorded live and no overdubs were used. The quirky but worthy music here bears comparison to Cole Porter. The content and approach are ideally suited to today’s music fan looking back on a long cabaret jazz history and looking forward with expectation. This pairing of a wordmeister and a mistress of hip lounge is a rare and wonderful thing, so enjoy it.

Tracklist:
01 – Spasm
02 – Baby Talk
03 – Sex Without Bodies
04 – I’ll Never Read Trollope Again
05 – Once Had a Woman
06 – I’m So Repentant
07 – Rue de Lappe
08 – Nirvana
09 – Ned’s Big Dutch Wife
10 – Crazy
11 – Daddy-O
12 – Walk on the Wild Side
13 – Stormy

Download:

mqs.link_DavesTrueStrySexWithutBdies1998HDTracks2496.part1.rar
mqs.link_DavesTrueStrySexWithutBdies1998HDTracks2496.part2.rar

Unauthorized features thirteen hip, witty tracks with Dave’s True Story’s trademark toe-tapping swing. Recorded in the signature 96kHz/24bit Chesky sound, Unauthorized is sure to become one of the favorites in your player as you soak in the tight accompaniment and wit-doused lyrics of this duo. Dave’s True Story performs frequently in and around New York City.

Unlike most contractually obligated recordings, this was released contrary to the band’s objections. The music is quaintly derived, charming and wittily sung by Kelly Flint, who has a sweet innocence in her voice, not at all affected or warbling, but open, honest and pure. The “Dave” is guitarist Dave Cantor, who leads groups of different-sized complement, from big band to small and mid-sized combos, all with swing on their mind. This may be a neo-revivalist band, but the lyrics are so fresh and the playing so authentic that they cannot be linked with Squirrel Nut Zippers and their more posed ilk. Flint’s stories, all penned by Cantor, are at times jaundiced with the uncertainty of love and the fickleness of trusted partners. “Dear Miss Lucy” is a letter of warning that “he” is still “mine” over an old-timey swing, “Kathmandu” is a query-laden, slowly ticking time bomb of doubt, and “Baby Who Are You?” combines the two themes as if she’s caught him red-handed. All are typical of this lot/genre of old-fashioned rhythm and emotionalism. Observing others’ travails, Flint dotes on a lady friend’s complex life during “Misery,” bluesily concludes another is “Far Worse Off Than I,” and laments of lost passion during the most typical straight love ballad, “Still I Adore You.” There’s the tale of the oriental playboy “Won Gon Du,” flavored with whimsical clarinet from Greg Wall, and the prison reference on the slooooow ballad “Florida Time,” with trumpeter Steve Gluzband ensuring the sentence will agonizingly pass with his “I told you so” lead and solo. Also added are the light calypso with hidden-meaning lyrics “Lilly-110-140,” the spy/stealth bossa “Voletta’s,” and the noir ballad of remorse and regret “When Kafka Was the Rage.” Cantor takes the vocal chair on the male talking blues about “Chicks,” while Flint and Dave’s guitar alone tell of a journey with “Slow Boat” references on “China Tour.” This is a quite delightful and entertaining recording, nothing to be ashamed of, and far less derivative than other, much kitschier bands hovering on the perimeter of swing or jump blues these days. We’d recommend it, despite the group’s misgivings.

Tracklist:
01 – Dear Miss Lucy
02 – Misery
03 – Lilly-110-140
04 – When Kafka Was The Rage
05 – Won Gon Ju
06 – Florida Time
07 – Far Worse Off
08 – Baby Who Are You?
09 – Chicks
10 – Voletta’s
11 – Still I Adore You
12 – Kathmandu
13 – China Tour

Download:

mqs.link_DavesTrueStryUnauthrized2000HDTracks2496.part1.rar
mqs.link_DavesTrueStryUnauthrized2000HDTracks2496.part2.rar

De La Soul are back in business with an absolute banger. After a couple of years in the wilderness, having to resort to Kickstarter to fund this project, it’s hard to know whether they’re aware of what regular albums sound like, or whether they just don’t care. « And the Anonymous Nobody » is an album with the Midas touch, taking the best sounds around and blending them together into a deliciously fresh cocktail. Funky bass riffs collide with gospel chorus and old skool hip hop on “Pain” (ft Snoop Dogg) and “Snoopies”, while other tracks like “Property of spitkicker.com” and “Memory of … (US)” are far more minimalist, mixing jazz infused chords with sparse bass lyrics. “CBGBS” and “Lord Intended” explore the space between rap and rock and deliver a raucous, expansive sound that’s totally engaging and fulfilling: a crossover we never knew we needed. In a style that’s oddly reminiscent of Gorillaz at their apogee, “And the Anonymous Nobody” feels more like a collaborative mashup that your brilliantly talented friends made, rather than something produced for popular consumption, and it’s great! As if the creative force of De La Soul wasn’t enough, the numerous artists who feature is a real who’s who: Jill Scott, Snoop Dogg, Damon Albarn, David Byrne, Little Dragon, 2chainz, Usher, Roc Marciano, Estelle, Pete Rock and even the British singer Justin Hawkins, from The Darkness ! These additions only add to the magic at work here, by bringing their own distinctive styles to an already eclectic mix. As a result this album is brimming with personality, as well as a total disregard for standard practice. Long narrative introductions are followed by funky choruses, tiny rock interjections, honest yet well-delivered lyrics… A veritable musical tour de force, and a lesson in creativity for those seeking originality in a world of mass production. It’s one of those albums that keeps on giving, to be savoured time and time again.

Tracklist
01. Genesis feat. Jill Scott
02. Royalty Capes
03. Pain feat. Snoop Dogg
04. Property of Spitkicker.com feat. Roc Marciano
05. Memory of… (US) feat. Estelle & Pete Rock
06. CBGBS
07. Lord Intended feat. Justin Hawkins
08. Snoopies feat. David Byrne
09. Greyhounds feat. Usher
10. Sexy Bitch
11. Trainwreck
12. Drawn feat. Little Dragon
13. Whoodeeni feat. 2 Chainz
14. Nosed Up
15. You Go Dave (A Goldblatt Presentation) feat. David Goldblatt
16. Here in After feat. Damon Albarn
17. Exodus

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mqs.link_DeLaSulAndTheAnnymusNbdy2016Qbuz2444.1.rar

David Fenn – Titan Souls: Original Soundtrack (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:00:09 minutes | 519 MB | Genre: Score / Orchestral, Epic, Instrumental, Metal
Studio Master, Official Digital Download – Source: Steam | Artwork: Front Cover

Titan Souls is a 2015 action-adventure developed by UK-based indie studio Acid Nerve and published by Devolver Digital. It was released on April 14, 2015 on Windows, OS X, Playstation 4 and Playstation Vita. The Tian Souls is the spiritual source and sum of all living things between earth and the world beyond. You play a lone archer that is on a quest to find the Titan Souls as it has been scattered across the ruins guarded by the idle titans. It’s a strategic, open world, 2D top down action game and the twist is that you only got one weapon, an arrow, and yes, only allowed to fire one at a time. It’s the only arrow you got, and it’s got a boomerang effect so you always get it back after it hits the target. The score is composed by David Fenn who is also credited for writing the story.

The trailer used some epic music with choirs and everything and I wonder if that is reflected in the score. It opens with ‘Souls’ a nice laid back cue with flute, strings and guitar. Nothing epic about it, but really beautiful. It feels peaceful and part of a nice grassy world. The next cue ‘Titans’ is much more epic (but I wouldn’t call it that) with heavy percussion and horns, although it’s missing the choir. The motif itself is nice but forgettable. ‘Truth And Power’ is nicer with great percussion and mixing in a soft flute and hurried strings. The string motif is good too, and I really feel the action in conjunction with the percussion. ‘Between Our World & The World Beyond’ is a calmer cue and I feel like I enjoy the calmer cues the most. The action doesn’t feel epic enough to me, doesn’t have the right weight, although I think the percussion is great.

‘Legendary Titan Slayer’ is fun. It feels like I’m in the wild west the way the music is constructed with that trumpet coming in. The rhythm also has a western feel over it. I like it. In a way it’s like a wild west in dungeons. ‘Avarice’ is a shock, but in a great way. It’s a theme inspired by heavy metal with a couple of guitars. I totally didn’t expect that, but this is pretty good. ‘Forest Songs’ is a simple guitar and harp melody which I enjoy a lot. It has similar qualities as the opening cue ‘Souls’, but most of all, the melody is very catchy. ‘The Disgraced Guardian’ takes the heavy metal approach again, and it’s even better than before. Love it. It seems to continue with ‘Bomber’ and ‘Roller’ to some extent. Why isn’t the whole score like this? It’s awesome! Also, choir! In ‘The Forgotten Guardian’ they appear, although the rest of the music is so-so, the choir sure rocks. In ‘The Last Guardian’ the music takes a more epic for like I heard in the trailer with choir and stern militaristic scoring. The charm of ‘Souls’ reappear in ‘Epilogue’ with a perhaps more heroic element to the sound. This sound I love.

It’s a sort of unsatisfactory feeling I have as I play the last note of this score. I don’t know, I think my expectations didn’t match what I heard unfortunately. It could be epic, I love the heavy metal parts and also the lyrical softer parts, but in the middle of all this, there’s a bunch of cues I didn’t love or hate, just meh. I hope that this one can grow on me, and I plant to play the game so I would say that’s a big possibility.

Tracklist:

01. Souls (01:38)
02. Titans (02:29)
03. Truth and Power (03:18)
04. Between Our World & the World Beyond (02:29)
05. Sludgeheart (01:57)
06. Brainfreeze (02:06)
07. The First Guardian (02:58)
08. Legendary Titan Slayer (03:15)
09. Elhanan’s Melody (02:16)
10. Avarice (01:54)
11. Winterbound (03:04)
12. Titanic (02:35)
13. Yeti Butts (02:06)
14. Stratus (02:16)
15. Forest Songs (02:27)
16. Obello (02:09)
17. Depths (02:08)
18. The Disgraced Guardian (02:12)
19. Bomber (01:40)
20. Roller (02:54)
21. The Elder (01:49)
22. The Forgotten Guardian (02:33)
23. The Last Guardian (02:03)
24. Final Battle (02:00)
25. Epilogue (02:37)
26. Credits (01:16)

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mqs.link_DavidFennTitanSulsriginalSundtrack20152444.1.rar

梅艷芳 (Anita Mui) –床前明月光 (2015) SACD ISO

梅艷芳 (Anita Mui) –沒話說 (2015) SACD ISO

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Damjan Mravunac – The Talos Principle (Video Game Soundtrack) (2014) [FLAC 24bit/44,1kHz]

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Daniel Mille – Astor Piazzolla – Cierra tus ojos (2014) [Qobuz FLAC 24bit/88,2kHz]

Danny Driver – C.P.E. Bach: Keyboard Sonatas vol. II (2012) [FLAC 24bit/96kHz]

Darcy James Argue’s Secret Society – Real Enemies (2016) [Bandcamp FLAC 24bit/44,1kHz]

Dave’s True Story – Sex Without Bodies (1998/2002) [HDTracks FLAC 24bit/96kHz]

Dave’s True Story – Unauthorized (2000/2002) [HDTracks FLAC 24bit/96kHz]

De La Soul – And The Anonymous Nobody (2016) [Qobuz FLAC 24bit/44,1kHz]

David Fenn – Titan Souls: Original Soundtrack (2015) [FLAC 24bit/44,1kHz]