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Symphony X - Underworld (2015) High-Fidelity FLAC Stereo 24bit/48kHz


Artist: Symphony X
Title: Underworld
Genre: Rock, Progressive Metal, Neoclassical Metal
Label: © Nuclear Blast GmbH
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 01:03:50
Recorded: September 2014–January 2015 at the Dungeon

SYMPHONY X have triumphed, creating a panoramic “album rock” experience in an era cursed with diminishing attention spans.“This new one is about the song, really crafting each one on its own, to be as strong as it could be” says Michael Romeo, chief writer in the band, and proprietor of The Dungeon, the tricked-out studio in which the album was crafted, newly equipped with the latest in technology required to execute the band’s famous symphonic and orchestrated touches.

Although Underworld is not a concept album, Michael stated “like the last couple of records, there’s a theme that carries through, without it being storytelling. We try to find something to key in on and get the juices flowing, and here the goal was to find something a little dark but with emotional content. I started looking at Dante, and Orpheus in the underworld, where he’s going to go to Hades or hell to save this girl. So there’s the theme of going to hell and back for something or someone you care about.” Heavily inspired by the Italian poet Dante Alighieri, Underworld draws on the themes from Divine Comedy most notably the part on Inferno. As homage to Dante’s use of the number 3 and its multiples, the band utilizes this motif in its music either in a lyrical or melodic context. The first song on the album is a three syllable, three note melodic phrase, and in the verses there are three references to three songs on the bands third album, The Divine Wings Of Tragedy. "There's cool shit like this all over the record," Romeo reports.

For Underworld’s cover art, SYMPHONY X went with their established illustrator Warren Flanagan (Watchmen, The Incredible Hulk, 2012), who similarly tapped into the “secret knowledge” vibe Michael and band embedded in the record. “Warren went with the masks, similar to the first record,” explains Romeo. “But when I discussed with him Dante and the underworld, he did his own research and designed a little symbol for each of the nine circles of hell. So there are these little geometric symbols that mean something. That’s just what he does. He gets in there and finds these things that maybe no one really besides us knows what it means and yet it has meaning.”
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Igor Stravinsky - Rite of Spring, Firebird Suite, Scherzo, Tango - Budapest Festival Orchestra, Ivan Fischer (2012) High-Fidelity DSF Stereo DSD64/2.82MHz


Сomposer: Igor Stravinsky(1882-1971)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Stravinsky - Rite of Spring, Firebird Suite, Scherzo, Tango
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:03:12
Recorded: Palace of Arts, Budapest, December 2010



The recipe seems simple: take a simple melody of six notes and repeat it in the same order, accentuating a different note each time. For example:

1 2 3 4 2 5
1 2 3 4 2 5
1 2 3 4 2 5

Here we have the beginning of the Sacre du Printemps (with a short transition between lines 2 and 3)! Next step: add a rhythmic pattern and repeat it many times. Prepare a few of these and combine them thoroughly until you get a polyrhythmic and polytonal mix! Finished. With his simple recipe, Stravinsky changed the world. Many plants grew from this seed: beat, rock, rap, minimal music… A pagan, sacrifice ritual with shocking music and shocking choreography: three exceptional talents - Roerich, Nijinsky and Stravinsky - brought about an artistic revolution with a masterstroke. 100 years later it still sounds fresh, pagan, scary, new and beautiful. --Iván Fischer
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Igor Stravinsky - Rite of Spring, Firebird Suite, Scherzo, Tango - Budapest Festival Orchestra, Ivan Fischer (2012) High-Fidelity FLAC Stereo 24bit/192kHz


Сomposer: Igor Stravinsky(1882-1971)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Stravinsky - Rite of Spring, Firebird Suite, Scherzo, Tango
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: DSD64 (converted at KORG AudioGate 2.3.3 / DSD Filter Soft Roll-off -3dB/50kHz / TPDF Diter)
Duration: 01:03:12
Recorded: Palace of Arts, Budapest, December 2010


The recipe seems simple: take a simple melody of six notes and repeat it in the same order, accentuating a different note each time. For example:

1 2 3 4 2 5
1 2 3 4 2 5
1 2 3 4 2 5

Here we have the beginning of the Sacre du Printemps (with a short transition between lines 2 and 3)! Next step: add a rhythmic pattern and repeat it many times. Prepare a few of these and combine them thoroughly until you get a polyrhythmic and polytonal mix! Finished. With his simple recipe, Stravinsky changed the world. Many plants grew from this seed: beat, rock, rap, minimal music… A pagan, sacrifice ritual with shocking music and shocking choreography: three exceptional talents - Roerich, Nijinsky and Stravinsky - brought about an artistic revolution with a masterstroke. 100 years later it still sounds fresh, pagan, scary, new and beautiful. --Iván Fischer
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Stefano Bollani, Hamilton de Holanda - O Que Sera (2013) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Stefano Bollani, Hamilton de Holanda
Title: O Que Será
Genre: Jazz, Modern Jazz, Piano Jazz, Modern Creative, Brazilian Jazz, Avant-Garde Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 00:54:00
Recorded live August 17, 2012 at Jazz Middelheim, Antwerp by VRT-Vlaamse Radio en Televisie. Mixed at Rainbow Studio, Oslo by Jan Erik Kongshaug, Roberto Lioli, and Stefano Bollani.


Italy’s creative piano virtuoso Stefano Bollani meets Hamilton de Holanda, Brazil’s peerless master of the bandolim, the 10-string mandolin. O que será is a summery celebration of the joy of music-making, radiating an irresistible enthusiasm, and raising the bar for trans-idiomatic instrumental interaction. Bollani, acknowledged as one of the most prodigiously-gifted soloists of jazz, is matched every step of the way here by de Holanda, and the exchanges between the musicians are frequently breathtaking. Repertoire draws upon the rich heritage of South American music – including Jobim, Piazzolla, Chico Buarque, Baden Powell, Ernesto Nazareth and more, plus original compositions by the protagonists. O que será was recorded live in Antwerp in last August before an audibly-delighted audience at the Jazz Middelheim Festival.
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Sofia Gubaidulina - Canticle of the Sun (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz


Сomposer: Sofia Gubaidulina (b.1931)
Artist: Various
Title: Sofia Gubaidulina - Canticle of the Sun
Genre: Classical
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:09:03
Recorded: July 2006 (The Lyre of Orpheus) and July 2010 (Canticle of the Sun) at Lockenhaus Festival


Two major works by Sofia Gubaidulina comprise this album: “The Lyre of Orpheus” (composed in 2006), for violin, percussion and string orchestra, and “The Canticle of the Sun” (1997, rev. 1998), for violoncello, chamber choir, percussion and celesta. Both pieces were recorded at the Lockenhaus Festival in, respectively, 2006 and 2010.
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Sly And The Family Stone - Live At The Fillmore East: October 4th & 5th, 1968 (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Sly And The Family Stone
Title: Live At The Fillmore East: October 4th & 5th, 1968
Genre: R&B, Funk, Soul
Label: © Epic Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 03:28:04
Recorded Live at the Fillmore East, NYC, October 4, 5, 1968


When Sly & the Family Stone seized Manhattan's Fillmore East for a two-night, four-set stand in October 1968, the sonically and socially advanced band was just starting to cook. Earlier in the year, "Dance to the Music" became their first charting single, a Top 10 pop hit. They were pushing their third album, Life, so the repertoire was still rather limited. As detailed in this generous release's liner notes, written by biographers Edwin and Arno Konings, the Epic label intended to assemble an album from these performances, but the plan was ditched once "Everyday People" -- the first single from Stand!, still months away from hitting shelves -- took flight and went to number one. That smash was issued only a month after the gigs, but the band didn't preview it on-stage, at least not the way the sets are documented here. Live at the Fillmore East October 4th & 5th, 1968 contains a representation of all four sets. Each one must be at least close to complete, as they're between 40 and 65 minutes in length, and contain some flubs and the working out of some technical issues. Despite playing roughly the same songs each set while knowing that they were being recorded, the band continually switched up the sequencing of the set lists -- "M'Lady" was placed up front and saved toward the end, for instance -- and the musicians played loose enough to allow for some spontaneity and variable interaction. The band's vitality, as they continually stomped through material from all three albums, is no surprise. Material from the first album and "Dance to Music" are played with equal levels of conviction. Sly's demeanor is consistently fervent and poised. The whole gang is at the top of their game. What's truly revelatory is that each set featured a Sister Rosie Stone-fronted version of "Won't Be Long," a song popularized seven years earlier by Aretha Franklin and the Ray Bryant Combo. It wallops each time, particularly so on the first night's early set. That a studio version wasn't released is as baffling as the heretofore absence of a live album. As heard here, they were playing like indisputable giants, not like a band fighting for a second hit. The CD edition is especially nice -- a fold-out cardboard package with sharp, true-to-the-era artwork for each disc. It tops the double-vinyl edition, a truncated and smart selection made by the Roots' Captain Kirk Douglas, released months earlier for Record Store Day. --AllMusic Review by Andy Kellman
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Franz Schubert - Symphony no. 9, Five German Dances - Budapest Festival Orchestra, Ivan Fischer (2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Franz Schubert (1797-1828)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Schubert - Symphony no. 9, Five German Dances
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2011
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:08:01
Recorded: Palace of Arts, Budapest, June 2010


A new dimension is added to the marvellous transition from the simple horn melody to a symphony when it is played on natural horns. Why did Schubert choose horns? Three notes sound open, the next stopped, the next stopped in a different way, like a melody roughly hewn from marble. Only when the oboe takes over is the unevenness polished away, removing limitations and barriers and transporting us into a magical realm of eternity. I must say that I find this transition most touching if the natural horn players do their best to equalize, to overcome their natural unevenness – like handicapped athletes do. Small C-clarinets and narrow trombones give this symphony a special colour. The woodwinds have a leading role, playing all the Viennese songs, serenades, popular tunes and dances. Even if it is an orchestral work, here and there it feels like the seventh volume of Schubert’s Lieder. --Ivan Fischer
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	Franz Schubert - Symphony no. 9, Five German Dances - Budapest Festival Orchestra, Ivan Fischer (2011) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Franz Schubert (1797-1828)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Schubert - Symphony no. 9, Five German Dances
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: DSD64 (converted at KORG AudioGate 2.3.3 / DSD Filter Soft Roll-off -3dB/50kHz / TPDF Diter)
Duration: 01:08:01
Recorded: Palace of Arts, Budapest, June 2010


A new dimension is added to the marvellous transition from the simple horn melody to a symphony when it is played on natural horns. Why did Schubert choose horns? Three notes sound open, the next stopped, the next stopped in a different way, like a melody roughly hewn from marble. Only when the oboe takes over is the unevenness polished away, removing limitations and barriers and transporting us into a magical realm of eternity. I must say that I find this transition most touching if the natural horn players do their best to equalize, to overcome their natural unevenness – like handicapped athletes do. Small C-clarinets and narrow trombones give this symphony a special colour. The woodwinds have a leading role, playing all the Viennese songs, serenades, popular tunes and dances. Even if it is an orchestral work, here and there it feels like the seventh volume of Schubert’s Lieder. --Ivan Fischer
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Sarah McLachlan - Shine On (2014) High-Fidelity FLAC Stereo 24bit/44.1kHz


Artist: Sarah McLachlan
Title: Shine On
Genre: Pop Rock, Soft Rock, Indie Rock, Ballad, Singer/Songwriter
Label: © The Verve Music Group
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 46:50
Recorded: Studio Pierre Marchand in Montreal, Creekside Studio in Vancouver, East West Studios in Los Angeles and Talkback in Burbank.


Three Time Grammy Winner and legendary singer songwriter makes her Verve debut with her eighth studio album, Shine On. Sarah has sold over 40 million albums in her career and is one of the most respected female artists in music today.
The new album was recorded in Vancouver with longtime collaborator/producer Pierre Marchand (the co-writer of hits like "Adia" and "Building a Mystery"), along with contributions from producer/songwriter Bob Rock (Michael Bublé, Nelly Furtado) and keyboardist Vincent Jones.
In a press release, McLachlan revealed that the album was inspired by her father's passing and her own appreciation of life: “This album is about moving through the second half of my life in a more mindful and meaningful way, recognizing that every day, every moment is precious and though we all have our issues and problems, our damages, we all have the ability to continue to learn, grow from our experiences, thrive and shine on. Many of the songs are inspired at least partially or wholly by my father's passing three years ago and the profound effect losing him had on me. I had to find my footing again without the anchor of his unconditional love."
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