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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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Faithless - Faithless 2.0: The Greatest Hits & Biggest New Remixes (2015) High-Fidelity FLAC Stereo 24bit/48kHz


Artist: Faithless
Title: Faithless 2.0: The Greatest Hits & Biggest New Remixes
Genre: Electronic, House, Trance, Progressive House, Deep House, Drum n Bass, Downtempo
Label: © Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 03:59:58

2015 marks the 20-year milestone in their illustrious career and to celebrate the band have curated a special remix album 'Faithless 2.0.' A package comprised of 28 tracks split across two CDs joining dots between past, present and future. While CD1 firmly brings their catalog back to life, CD2 celebrates 14 of Faithless' career-defining records, with originals 'Insomnia', 'Mass Destruction', 'We Come 1' and 'Salva Mea' reminding us quite how timeless their music really is.
Calling on those they've inspired and been inspired by throughout their remarkable career, the album sees heavy hitters Avicii, Tiesto, Above & Beyond, Eric Prydz, Armin Van Buuren; alongside underground connoisseurs Booka Shade, Claptone, High Contrast and Purple Disco Machine all provide their own takes on their seminal classic material.
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Enrico Rava Quartet with Gianluca Petrella - Wild Dance (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Enrico Rava Quartet with Gianluca Petrella
Title: Wild Dance
Genre: Jazz, Modern Jazz, Fusion, Trumpet jazz
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:06:40
Recorded: January 2015, Artesuono Recording Studios, Udine


A cross-generational project by the grand master of Italian Jazz. Energized by joyous experiences on the road the ever youthful Enrico Rava took his new working quartet of the last two years into Arte Suono Studio in Udine. Here they were joined by trombonist Gianluca Petrella, an internationally noted player through his contributions to Rava’s three acclaimed post-millennium quintet albums Tribe (2011), The Words & The Days (2005) and Easy Living (2003). With Manfred Eicher producing, the five Italians recorded a program of Rava originals which cover a broad range of moods – from brooding ballad playing to fiery uptempo post-bop. Once again Rava’s playing makes it clear that lightness and intensity, elegant cool and emotional warmth are no opposites. Rava and Petrella form a peerless two-horn frontline, whether playing in unison, engaging in dialogue or taking their turns in extensive soloing. The rhythm section of Gabriele Evangelista, Enrico Morello, (“in my opinion the number one drummer in Italy today”, says Rava) and guitarist Francesco Diodati give them both space and assured support.
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Elvis Costello & The Attractions - This Year's Model (1978/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Elvis Costello & The Attractions
Title: This Year's Model
Genre: Rock, New Wave, Rock & Roll, British Punk
Label: © Elvis Costello/Universal Music Group
Release Date: 1978/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: highresaudio.com
Duration: 39:20
Recorded: 1977–1978 at Eden Studios, London, England

#98 on Rolling Stone magazine's list of 'The 500 Greatest Albums of All Time'

For his second album, Elvis Costello fine-tuned his aesthetic by abandoning the California studio cat accompanists of his debut for the more aggressive, quirky and very British Attractions, who would define EC's sound over the next several years. Where „My Aim IS True“ highlighted Costello's rootsy influences (the Band, etc.), „This Year's Model“ wholeheartedly embraces the 'new wave' out-with-the-old mindset, favoring tightly wound ferocity over back-porch-isms.
Irresistibly catchy, in a twitchy, neurotic, white-knuckled way, „This Year's Model“ is Costello at his edgiest. The classic 'Pump It Up' pummels the listener with garage-band organ, pounding drums, and Highway 61 Revisited-style ranting. 'Radio, Radio' turned into something of an anti-authoritarian anthem for Costello. The snaky guitar and reggae-tinged drums of 'I Don't Want to Go to Chelsea' complement his verge-of-a-nervous-breakdown vocal performance nicely. Come to think of it, so does nearly everything else here.
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Elvis Costello - My Aim Is True (1977/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Elvis Costello
Title: My Aim Is True
Genre: Rock, British Punk, New Wave, Pub Rock, Rock & Roll, Alternative Rock
Label: © Hip-O/Elvis Costello
Release Date: 1977/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 36:17
Recorded: Pathway Studios, London, 1976–1977

My Aim Is True is English singer-songwriter Elvis Costello's debut album. The record was originally released in 1977 and features hit songs "Alison" and "(The Angels Wanna Wear My) Red Shoes". The same year it was named one of the best of the year by Rolling Stone, in 2003 was listed the magazine's 500 Greatest Albums of All Time, and it was eventually inducted into the Grammy Hall of Fame.

"There was at least as much imagination as experience in the words of this record. Whatever lyrical code or fancy was employed, the songs came straight out of my life plain enough. I hadn't necessarily developed the confidence or the cruelty to speak otherwise." - Elvis Costello
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Dvorak & Lalo - Cello Concertos - Johannes Moser, PKF-Prague Philharmonia, Jakub Hrusa (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Antonín Dvořák (1841-1904), Édouard Lalo (1823-1892)
Artist: Johannes Moser, PKF-Prague Philharmonia, Jakub Hrůša
Title: Dvořák & Lalo - Cello Concertos
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:05:19
Recorded: Forum Karlín in Prague, Czech Republic in January 2015


German-Canadian international soloist Johannes Moser recently signed an exclusive recording contract with PENTATONE. He regularly performs with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Chicago Symphony, London Symphony, Royal Concertgebouw, NHK Symphony, Philadelphia and Cleveland Orchestras as well as the leading conductors of our time including Mariss Jansons, Valery Gergiev, Zubin Mehta and Gustavo Dudamel. He has received many accolades for his recordings including two ECHO Klassik awards as well as the Preis der Deutschen Schallplattenkritik.
For his debut album with PENTATONE Johannes chose to record the pinnacle of the repertoire for cello and orchestra, the concerto by Antonín Dvořák. In this monumental work Dvořák explores the entire spectrum of human emotion, very much inspired by his own experiences, ranging from exhilarating bursts of life in New York City to the devastating tragedy of his unfulfilled love.
In preparation for the recording, made with the PKF - Prague Philharmonia, Johannes Moser and conductor Jakub Hrůša had Dvořák's own manuscript at hand in order to come closer to the composer's intention rather than relying on unquestioned traditions and acquired habits, while paying tribute to the concerto's nickname, "Dvořák's 10th Symphony”.
Moser completes his debut album with the Cello Concerto by Édouard Lalo. It is a work of great verve which fully embodies Spanish flair combined with romantic spirit.
Besides being staples of the Romantic cello repertoire the two works have a lot in common. Johannes Moser says about the two concerti: “The unifying motif between these two Cello Concertos is a sense of yearning: From America, Dvořák yearned for his homeland and an unfulfilled love, whereas Lalo yearned for the typically Spanish flair and the Mediterranean temperament”.
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