Allan Holdsworth – All Night Wrong (2002) [2.0 & 5.0] {SACD-R + FLAC 24-88.2}

Allan Holdsworth – All Night Wrong (2002)
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 55:55 minutes | Custom Art | 3,31 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Custom Art | 1,09 GB
Genre: Jazz

Allan Holdsworth is an English guitarist and composer. He has released twelve studio albums as a solo artist and played a variety of musical styles spanning a period of more than four decades, but is best known for his work in jazz fusion. All Night Wrong is Allan Holdsworth’s first official live album, released in 2002 through Sony Music Entertainment Japan.

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Justice – Audio, Video, Disco (2011) [FLAC 24-96]

Justice – Audio, Video, Disco (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 00:40:39 | 938 MB | Genre: Electronic
Official Digital Download – Source: Web | Digital Booklet | © Ed Banger Records – Because Music

2011 album from the French Electronic duo. The duo is known for incorporating a strong Rock and Indie influence into their music and image. Features the singles ‘Civilization’ and ‘Audio Video Disco’.

Tracklist
01. Horsepower 3:39
02. Civilization 3:39
03. Ohio 4:01
04. Canon (Primo) 0:27
05. Canon 3:39
06. On’n’on 4:30
07. Brainvision 3:11
08. Parade 4:01
09. New Lands 4:14
10. Helix 4:28
11. Audio, Video, Disco. 4:53

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Joy Division – Unknown Pleasures (Collectors Edition) [1979/2013] {HDTracks 24-192}

Joy Division – Unknown Pleasures (Collectors Edition) [1979/2013]Expanded with a second disc featuring the band live at The Factory
FLAC (tracks) 24 bit/192 kHz | Time – 84:06 minutes |1.83 MB | Genre: Rock
Official Digital Download – Source: HDTracks.com | Front cover

Unknown Pleasures is the 1979 debut by the influential Manchester quartet. This landmark release is packed full of energy and passion. Featuring bold and powerful performances, Unknown Pleasures includes the monumental hits, “Disorder,” “She’s Lost Control” and “Interzone.” The album, not only one of music’s greatest debuts, is also one of the best albums ever released. It is included on various “Greatest Albums” lists including Rolling Stone, Spin, Q, NME, MOJO and more. This Collector’s Edition expanded with a second disc featuring their live concert at the “Factory” on 13th July 1979.

Chart History/Awards:
- One of Rolling Stone’s “50 Coolest Records.”
- One of Q’s “100 Greatest British Albums.”
- One of NME’s “Top 30 Heartbreak Albums.”
- One of MOJO’s “Top 50 Punk Albums.”
- One of NME’s “Greatest Albums of All Time.”
- One of Spin’s “50 Most Essential Punk Records.”
- AllMusic.com – 5 out of 5 stars.

It even looks like something classic, beyond its time or place of origin even as it was a clear product of both — one of Peter Saville’s earliest and best designs, a transcription of a signal showing a star going nova, on a black embossed sleeve. If that were all Unknown Pleasures was, it wouldn’t be discussed so much, but the ten songs inside, quite simply, are stone-cold landmarks, the whole album a monument to passion, energy, and cathartic despair. The quantum leap from the earliest thrashy singles to Unknown Pleasures can be heard through every note, with Martin Hannett’s deservedly famous production — emphasizing space in the most revelatory way since the dawn of dub — as much a hallmark as the music itself. Songs fade in behind furtive noises of motion and activity, glass breaks with the force and clarity of doom, minimal keyboard lines add to an air of looming disaster — something, somehow, seems to wait or lurk beyond the edge of hearing. But even though this is Hannett’s album as much as anyone’s, the songs and performances are the true key. Bernard Sumner redefined heavy metal sludge as chilling feedback fear and explosive energy, Peter Hook’s instantly recognizable bass work at once warm and forbidding, Stephen Morris’ drumming smacking through the speakers above all else. Ian Curtis synthesizes and purifies every last impulse, his voice shot through with the desire first and foremost to connect, only connect — as “Candidate” plaintively states, “I tried to get to you/You treat me like this.” Pick any song: the nervous death dance of “She’s Lost Control”; the harrowing call for release “New Dawn Fades,” all four members in perfect sync; the romance in hell of “Shadowplay”; “Insight” and its nervous drive toward some sort of apocalypse. All visceral, all emotional, all theatrical, all perfect — one of the best albums ever.

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Johann Sebastian Bach – Bach – Academy of St Martin in the Fields, Joshua Bell (2014) [Qobuz 24-44.1]

Johann Sebastian Bach – Bach – Academy of St Martin in the Fields, Joshua Bell (2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 49:57 minutes |  284 MB | Genre: Classical
Studio Master, Official Digital Download |  Source:Qobuz | Digital Booklet , Front cover
© Sony Music | Recorded: April 28 & 29, 2014 at Air Studios, London, Great Britain

Violinist Joshua Bell is one of the most acclaimed classical musicians of today — renowned for his expressive, elegant, intelligent playing and his deep commitment to bringing the classical tradition to wider audiences.
Now Bell has for the first time recorded the masterpieces of J.S. Bach with the Academy of St Martin in the Fields. In his third season now as their music director, Bell performs Bach’s sublime Violin Concertos No. 1 and No. 2, along with a never-done-before ‘violin and orchestra’ arrangement of the famous “Chaconne” from the Partita No. 2 (adapted from Mendelssohn’s piano accompaniment), the Gavotte en Rondeau from Partita No. 3 for solo violin (using Schumann’s accompaniment), and the universally beloved “Air on the G string.”
“Bach is the composer who got me hooked on music in the first place,” says Bell, whose “house was filled with Bach when I was growing up.” He also began his music career with Bach. Says Bell, “I made my first appearance as soloist with an orchestra when I was seven years old. The concerto was by Bach, and Bach’s music has been central in my life, even though I have until now resisted recording his music. My approach to Bach has been continuously evolving. I grew up deeply influenced by a tradition of Bach playing that has since gone out of fashion with the arrival of the ‘original instrument’ movement. What fascinates me is how the beauty of Bach can shine through both when performed in a ‘romantic’ style (if done tastefully of course!) and also when done with a more ‘historically informed’ approach.”

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Joseph Haydn – The Seven Last Words of Christ on the Cross – Alexei Lubimov (2014) [Qobuz 24-88.2]

Joseph Haydn – The Seven Last Words of Christ on the Cross – Alexei Lubimov (2014)
FLAC (tracks) 24-bit/88.2 kHz | Time – 01:04:20 minutes | 1.13 GB | Genre: Classical
Studio Master, Official Digital Download |  Source:Qobuz | Front cover
© Zig-Zag Territoires ,Outhere Music | Recorded: from 17 to 20 June 2013 in Doopsgezinde Gemeente Church, Haarlem (Netherlands)

Although it is played on a period instrument, no one is arguing that this recording of Haydn’s The Seven Last Words of Christ is historically authentic. The work, exceptionally in Haydn’s output, exists in multiple versions, for orchestra, string quartet, chorus, and keyboard (either fortepiano or harpsichord). But surely Haydn did not have the instrument heard here, the rare tangent piano, in his head. This was, speaking roughly, a piano-harpsichord hybrid that never really found its footing in the late 18th century. As long as listeners are down with the idea of a fairly speculative recording, the effect of the tangent piano in this particular work is electrifying. Lubimov gets the best of both worlds: the intimacy of the keyboard version and the dynamic contrasts and timbral shadings of the orchestral original. The keyboard transcription is not by Haydn himself but was made in his own time, and he approved it. Lubimov works from this, tweaking it and adding contrasts that break up the seven consecutive slow movements and give them an extraordinarily expressive quality. Even when listeners know it’s coming, the final Terremoto movement, depicting the earthquake following Christ’s crucifixion, comes as a shock. Listeners will never hear the work quite the same way again after experiencing this recording, and even if Haydn didn’t intend it this way, most may well end up wishing he had.

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Johnny Hodges – Johnny Hodges with Billy Strayhorn and the Orchestra (1961/2011) [AcousticSounds DSF Stereo DSD64/2.82MHz]

Johnny Hodges – Johnny Hodges with Billy Strayhorn and the Orchestra (1961/2011)
DSF(tracks) DSD64/2.82MHz | Time – 36:27 minutes | 1.46 GB | Genre: Jazz
Studio Master, Official Digital Download  |  Source: Acoustic Sounds  | Artwork: Digital booklet
© Verve Records

Recorded: Tracks 2 to 6, 8, 10 and 11 recorded in December 11, 1961; Tracks 1, 7 and 9 recorded in December 12, 1961 at Van Gelder Studio, Englewood Cliffs, New Jersey.
Mastered at Sterling Sound by George Marino.

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

Recorded during the last decade of his long tenure with the Duke Ellington Orchestra, this album finds the great alto saxophonist Johnny Hodges’ musical gifts not only intact but stronger than ever. Featuring the Ellington band – with Jimmy Jones on piano and Billy Strayhorn as bandleader and arranger – it is a fascinating program of Ellington remakes, including tome of the orchestra’s most familiar numbers, all of which have been given subtle new orchestrations by Strayhorn and melodious new interpretations by Hodges.
Alto saxophonist Johnny Hodges recorded frequently for Verve in the 1950s and 1960s, although nearly all of the musicians on this CD are from the Ellington orchestra and the arrangements are by Billy Strayhorn. Hodges is never less than superb throughout this reissue, while Lawrence Brown, Harry Carney and non-Ellingtonians Howard McGhee on trumpet and pianist Jimmy Jones also deserve praise. Strayhorn’s exotic chart of “Azure” and emotional scoring of “Your Love Has Faded” are especially striking. Recommended. –Ken Dryden, AllMusic

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Johnny Hodges – Blues A Plenty (1958/2011) [AcousticSounds DSF Stereo DSD64/2.82MHz]

Johnny Hodges – Blues A Plenty (1958/2011)
DSF(tracks) DSD64/2.82MHz | Time – 42:30 minutes | 1.68 GB | Genre: Jazz
Studio Master, Official Digital Download |  Source: Acoustic Sounds  |  Artwork: Digital booklet
© Verve Records | Recorded: New York, USA on April 5, 1958.

Mastered by George Marino at Sterling Sound from the original master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
“I really think that the people who are willing to lay down their money for these reissues are going to get something really outstanding.” — George Marino, Sterling Sound engineer, commenting on Analogue Productions’ Verve 25-title reissue series.

One of the giants of the alto saxophone, Johnny Hodges was perhaps the most important soloist and sideman in Duke Ellington’s orchestra from 1928 up to Hodges’ death in 1970. The self-taught player made many solo forays during his long career – one of his ’50s outfits included a young John Coltrane – but history remembers Hodges for his virtuosic sidemanship, particularly his sensitive rendering of ballads.
In these sophisticated times when we seem to be able to have everything we are particularly fortunate that record companies like American Jazz Classics recognise the importance of preserving gems of jazz like those on this disc, collect them together and remaster them so that the sound is so pristine they could easily have been recorded just yesterday. When you listen to this disc you have to keep reminding yourself that these were recorded over 50 years ago and that Ben Webster and Johnny Hodges first recorded together in Duke Ellington’s orchestra in 1935! This is a fabulous disc that shows off the talents of both Johnny and Ben to perfection. Johnny Hodges had a beautifully silky smooth singing tone while Ben’s tenor was gutsy and raunchy but nevertheless had its soft edge too at times. The record kicks off with a really lovely example of I didn’t know about you with Johnny’s magic alto exemplifying the phrase `laid back’ and Billy Strayhorn’s piano framing the whole beautifully and eloquently. Ben joins in on track two together with Roy Eldridge and Vic Dickenson for the bluesy Cool your motor. Johnny solos again in Gone with the wind in a lovely dreamy style. Eldridge’s trumpet screams out to kick off Honey Hill and Vic Dickenson’s trombone gives us another taste of his mastery of this instrument with Ben’s muscular tone on tenor taking the baton from Vic and then passing it to Eldridge; everyone gets his turn in the spotlight here apart from the rhythm section who simply perform sterling support in the background… –Steve Arloff, MusicWeb International

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John Frusciante – The Empyrean (2009) [FLAC 24-44.1]

John Frusciante – The Empyrean (2009)
FLAC (tracks) 24 bit/44.1 kHz | Time – 00:53:54 | 662 MB | Genre: Pop , Rock
Official Digital Download – Source: Web | Digital Booklet | © EMI

After lying low for a few years after a tremendous burst of activity in 2004, John Frusciante is back with another solo album, Empyrean. It starts out with a fantastic instrumental called “Before the Beginning”: a great minor key guitar solo, replete with echoplexed drums that was surely inspired by “Maggot Brain.” After that, it’s back to the kind of introspective songs that have characterized much of his solo work. His singing is actually pretty remarkable considering his initial forays into vocals. He sounds confident and assured, even as the subject matter wrestles with dark thoughts and doubt. The songs tend to be fairly spare with guitar, electric piano, bass and drums with strings adding some lushness towards the end. Frusciante also uses the studio as an instrument à la Eno, adding cool treatments to nearly every song. Some of the songs are a bit mopey and the subject matter is often on the heavy end, but “Dark/Light” shifts gears nicely (dark to light?) where the heavy reverb and piano of “Dark” gives way to the cheesy rhythm box and falsetto vocals of “Light,” which leads into a nice bass-driven coda with choir. “Enough of Me” also features Johnny Marr on guitar, and one of them turns in a really nice Robert Fripp guitar solo. “One More of Me” is just strings and electric piano with Frusciante seemingly trying to sound like Stephin Merritt. Frusciante has done a nice job of carving an identity completely separate from his main gig, and Empyrean fits nicely with his other solo albums. ~ Sean Westergaard

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John Frusciante – PBX Funicular Intaglio Zone (2012) [FLAC 24-96]

John Frusciante – PBX Funicular Intaglio Zone (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 36:59 minutes | 776 MB | Genre: Rock
Official Digital Download – Source: WEB | Basic Artwork

2012 album from the former Red Hot Chili Peppers guitarist. After a nearly three year hiatus, John Frusciante returns with PBX Funicular Intaglio Zone, a full length album that marks the former RHCP guitarists foray into the world of electronic music. Produced, engineered and performed by Frusciante himself, PBX blends Frusciante’s well known songwriting prowess with his newfound love for electronic music.

The ever-winding path of John Frusciante’s solo career is a confusing one to say the least. Light years away from his contributions to the Red Hot Chili Peppers as a guitar slinger from the school of Hendrix, Frusciante’s solo albums have been visceral, howling affairs dealing with raw nerves and dark places in the human spirit. Now with both PBX Funicular Intaglio Zone and the Letur-Lefr EP that came just before it, his music becomes an unfiltered mesh of every conceivable style, sometimes to the point of incoherence. Recorded throughout 2011, the album was the result of Frusciante’s dream to create electronic music, but seems like more of a synthesis of a multitude of different directions, sometimes branching out in all of these directions at once. “Ratiug” is one of the tracks more easily recognizable as a traditional rock song, but it’s still a dizzying mixed bag. Moody alt-rock chord progressions and multi-tracked vocals float over collage-style drumbeats. A sample of the snare hit introduction from Joy Division’s “Disorder” is easily picked out, but less familiar sampled drum breaks make way for lazy horn sections and eventually a freestyle routine by MC Kinetic 9 rounds out the confusing song over a bed of synth strings. This kind of experimentation runs wild throughout the album, with every song a collision of rudimentary electronics, gritty drum’n’bass rhythm tracks, and even a little dubstep wobble thrown in for good measure before quickly jumping ship to the next sound. “Sam” begins with a nauseating duo of rhythmless live drums and stuttering vocal samples, breaking into a burst of distorted jungle rhythms thick with metal guitars, melding Atari Teenage Riot with Negativland with Soundgarden. A song like “Mistakes” moves so frantically from out-of-the-box keyboard sounds and by-the-book electro sounds to a mishmash of rock guitar and prog histrionics it threatens to come off as parody. The thing is, there’s no doubt that Frusciante is sincere in his expression with this incredibly warped music. There’s no easy explanation for these sounds, no context for a lot of the choices he makes with the rapid-fire style changes and jarring production choices that come one after another after another on almost every song here. Instead of sounding indulgent, or even busy, the field of sound Frusciante creates sounds strangely uniform in its complete insanity. Much like the schizophrenic landscape of a record like Captain Beefheart’s Trout Mask Replica, PBX FIZ creates a language of its own out of the chaos, and by the end, we have a few hints at what kind of deeper message lies beneath the confusion. Frusciante’s specific breed of acid house-inspired electro dabbling with roots in alternative radio rock circa 1995 is going to prove too challenging for most listeners, and even fans of his strange language might have a hard time peeling back the layers.

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John Dowland – Lute Songs – Damien Guillon, Eric Bellocq (2011) [Qobuz 24-88.2]

John Dowland – Lute Songs – Damien Guillon, Eric Bellocq (2011)
FLAC (tracks) 24-bit/88.2 kHz | Time – 01:00:17 minutes | 375 MB | Genre: Classical
Studio Master, Official Digital Download |  Source:Qobuz | Front cover
© Zig-Zag Territoires ,Outhere Music | Recorded: du 3 au 7 mai 2009 à l’Eglise Evangélique Allemande PARIS 11

Damien Guillon has chosen for his first solo recital disc a refined, subtle and melancholy repertoire, which he has gone on to explore in depth and polish in genuine chamber style with the lutenist Eric Bellocq, an expert in Renaissance music.

“Dowland is heir to the English polyphonic tradition (middle age conception) where words and music coincide not on meaning but through proportions generated by the planets, however he also explores the new modes of expression which were emerging on the continent related to italian renaissance which linked meaning of the words and musical effect, favoring harmony towards polyphony.

His ambivalent attitude seems to have caught the attention of the performers on this recording. Damien Guillon and Éric Bellocq succeed in finding an unprecedented balance between these two facets of the composer’s art. Both singer and lutenist dramatise their discourse by means of great variety of dynamics, yet without breaking up the polyphonic lines.” Jean-Luc Tamby

Eric Bellocq plays a liuto forte from André Burguete’s conception, an instrument which enables the player to develop a larger sound possibilities creating a true dialogue with the singer and a great freedom in improvisation.

Damien Guillon started at an early age as a member of child’s choir Brittany, then at the Versailles Baroque Center while studying organ and harpsichord. In 2004, he was admitted to the countertenor Andreas Scholl’s class at the Schola Cantorum Basiliensis… He was soon spotted by such well-known conductors as Jordi Savall, Vincent Dumestre, Hervé Niquet, Jérôme Correas, Philippe Pierlot, Jean-Claude Malgoire, Christophe Rousset, William Christie, and Philippe Herreweghe.

He has founded his own ensemble, Le Banquet Céleste, with which he has performed at Les Nuits Musicales d’Uzès and the Froville Festival. Their repertoire includes Vivaldi’s Nisi Dominus, Pergolesi’s Stabat Mater, and the cantatas for alto and obbligato organ of J. S. Bach, which will be Damien Guillon’s next recording project on Zig-Zag Territoires.

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