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Gesualdo - Tallinn Chamber Orchestra, Estonian Philharmonic Chamber Choir, Tonu Kaljuste (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Don Carlo Gesualdo (1566-1613), Brett Dean (b.1961), Erkki-Sven Tüür (b.1959)
Artist: Tallinn Chamber Orchestra, Estonian Philharmonic Chamber Choir, Tõnu Kaljuste
Title: Gesualdo
Genre: Classical
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:58:29
Recorded: February 2014 at The Tallinn Methodist Church

This absorbing project finds Australian composer Brett Dean and Estonian composer Erkki-Sven Tüür drawing inspiration in very different ways from the music, life and times of Carlo Gesualdo and juxtaposes these reflections with Gesualdo’s own music.
The music of Carlo Gesualdo, Prince of Venosa (1566-1613) has exerted a powerful influence on composers down the ages. His highly-charged, mannerist, idiosyncratic vocal music constitutes “a gallery of dramatically-lit portraits of human emotions with a heavy emphasis on the extremes of joy and despair” (to quote former Hilliard Ensemble singer Gordon Jones).
Brett Dean’s „Carlo“ (composed 1997) begins with pure Gesualdo from the 6th Book of Madrigals, then gradually enters a very 20th century sound-world. Through use of both sampled and real-time voices as well as increasingly intense strings Dean paints an hallucinatory picture of the Prince of Verona’s state of mind as he is driven toward his violent crimes of passion (he murdered his wife and her lover when he caught them in flagrante delicto) .
Erkki Sven Tüür’s „L’Ombra di Gesualdo“ references the Gesualdo motet ‘O crux benedicta’ from the Cantiones sacrae, and Gesualdo’s piece is also heard in an arrangement for strings by Tüür. The programme is completed by Tüür’s ‘Psalmody’, which is without a Gesualdo-inspired subtext but it too cross-references older and newer music, within the narrower time-frame of Tüür’s own oeuvre.
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George Enescu - Complete Works for Piano Solo - Raluca Stirbat (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: George Enescu (1881-1955)
Artist: Raluca Stirbat
Title: Enescu: Complete Works for Piano Solo
Genre: Classical
Label: © haenssler CLASSIC
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: ProStudioMasters
Duration: 03:21:19
Recorded: September, 2010

George Enescu is mainly known as a legendary violinist; yet he was not less known as an exceptionally gifted pianist who has been admired and worshiped by his colleagues for his musicality. His expressive and elaborate compositions for piano are up to date underrepresented in the world of CD records.
This gap has been closed now: The Rumanian pianist Raluca Stirbat, who is one of the most outstanding representatives of her age in the Rumanian piano generation has recorded Enesu’s complete works for piano on three CDs. And how!
She shows brilliant technique together with her relating selection of rich acoustic colours as Stirbat’s complete portrait of the versatile pianist George Enescu becomes apparent. This picture is being completed by numerous premiere and world premiere recordings on album.
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Gary Clark Jr. - Blak and Blu (2012) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Gary Clark Jr.
Title: Blak and Blu
Genre: Blues, Blues Rock, R&B, Neo Soul, Modern Electric Texas Blues
Label: © Warner Bros. Records
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit (tracks 3,4,6,8,9,10,11,12 & 15 are 48kHz/24bit)
Source: HDTracks
Duration: 77:22
Recorded: 2011-2012

Gary Clark Jr. is a rocking soul man for a new generation. The 27-year-old singer-guitarist shows his deep appreciation for classic hip-hop by fusing it with contemporary soul and rock. Clark has been compared to countless legends including Jimi Hendrix. The virtuosity Clark displays is profound and puts many modern rock shredders to shame. This collection which features twelve Clark originals also includes a blistering cover of Little Johnny Taylor’s “Third Stone From The Sun/If You Love Me Like You Say” and two bonus tracks. Blak and Blu has already received praise from publications including the Washington Post, The New York Times, Entertainment Weekly and the Boston Globe.
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Garbage - Version 2.0 (1998/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Garbage
Title: Version 2.0
Genre: Rock, Pop Rock, Alternative/Indie Rock, Synth-Pop, Electronic Rock
Label: © Almo Sounds
Release Date: 1998/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 49:44
Recorded: March 1997 – February 1998, Smart Studios in Madison, Wisconsin

Version 2.0 is the second studio album by Scottish-American alternative rock band Garbage. The album was recorded primarily at Smart Studios from March 1997 to February 1998 and was released worldwide in May 1998 by Mushroom Records UK and in North America by Almo Sounds. Despite a slow start, Version 2.0 went on to equal its predecessor, becoming platinum-certified in many territories. By 2008, it had sold 1.7 million copies in the United States. Garbage embarked on an 18 month-long world tour, and released a string of hit singles backed with innovative music videos.
With the album, Garbage aimed to improve and expand on the style of their 1995 self-titled debut rather than reinvent their sound. Lead singer Shirley Manson wrote dark, introspective lyrics, which she felt complemented the songs' melodies. Version 2.0 received generally positive reviews from music critics, and was included by several publications in their year-end lists of 1998's best albums. In 1999, Version 2.0 was nominated for Grammy Awards for Album of the Year and Best Rock Album. The album's third single "Special" was further nominated the following year for Best Rock Song and for Best Rock Performance by a Duo or Group.
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Garbage - Bleed Like Me (2005/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Garbage
Title: Bleed Like Me
Genre: Rock, Pop Rock, Alternative Rock, Dance Rock, Electronic Rock
Label: © 2005/2015
Release Date: Stunvolume/Garbage Unlimited, LLC
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: Qobuz
Duration: 00:45:00
Recorded: March 2003 – December 2004, Smart Studios, Madison, Sound City, The Boat, and Grungeisdead, Los Angeles, California

As polished and professional as it was, Garbage's third album, Beautiful Garbage, killed whatever momentum the quartet had as the LP commercially crashed and burned not long after its fall 2001 release. Subsequently, the band faded out of view, taking a long hiatus before regrouping in 2004 to record their fourth album, Bleed Like Me, which was finally released in the spring of 2005. Although it was released halfway through the first decade of the 21st century, it belongs to the midpoint of the last decade of the 20th century, sounding like a virtual Cliff Notes of the sounds, themes, and styles of the post-grunge '90s. As they beefed up the guitars, the band have toned down some of the electronica underpinnings that have been present since their debut -- they've not been excised, merely subdued, so this is still recognizably the work of a group that called their second album Version 2.0 with their tongue firmly planted in cheek. But Garbage don't just hark back to their earlier work on Bleed Like Me, they conjure all kinds of ghosts from the '90s, building "Sex Is Not the Enemy" on a Kim Deal bassline, while pasting together a guitar riff straight off of Stone Temple Pilots' Purple and a chorus from Elastica's classic "Stutter" for the album's first single, "Why Do You Love Me." Other sounds of the '90s flutter throughout the album -- the title track reaches back even further, as its cavalcade of misfits uncannily recalls Lou Reed's "Walk on the Wild Side" in its structure, sentiment, and melody -- while lead singer/lyricist Shirley Manson trots out a litany of doomed relationships, kinky sex, wallowing despair, teenage cutters, and hostile confrontations, all topics that were de rigueur for '90s alt-rock. Manson doesn't seem like she's pandering -- several songs appear to cut close to the bone, suggesting that she's been through a particularly painful breakup recently -- and neither do the band. They're all old pros and they construct their music well, so it's hooky and loudly stylish. Problem is, it's a style that's about ten years out of date. Bleed Like Me doesn't sound like a revival, it feels like it's out of time, as if the band doesn't quite know how to do anything else but sound like it's the heyday of post-grunge alt-rock. Since the band's drummer and chief sonic architect, Butch Vig, helped create that sound with the albums he produced for Nirvana, the Smashing Pumpkins, Sonic Youth, and L7, that's not a surprise, nor is it necessarily a disappointment, because the music is not bad. He and his colleagues remain talented, capable professionals, crafting an appealing, tightly constructed album that plays to the group's strengths. It's an enjoyable record, but it's hard to escape the nagging feeling that Garbage has painted itself into a corner: they haven't found a way to expand their sound, to make it richer or mature -- they can only deliver more of the same. While they may be able to do this well, it is nevertheless more of the same. --AllMusic Review by Stephen Thomas Erlewine
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