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Baroness - Purple (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Baroness
Title: Purple
Genre: Rock, Alternative Metal, Hard Rock, Heavy Metal, Progressive Metal, Sludge Metal
Label: © Abraxan Hymns
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 42:40
Recorded: Winter 2015, Tarbox Road Studios, Cassadaga, New York

A bus accident in 2012 permanently altered reality for Baroness. While on tour to promote the just-released Yellow & Green, they crashed through a guardrail in heavy rain and fell 30 feet. Though all the members survived, drummer Allen Blickle and bassist Matt Maggioni each suffered fractured vertebrae and ultimately left the group. Frontman/guitarist John Baizley (who spent months in recovery) and guitarist Pete Adams enlisted drummer Sebastian Thomson (Trans Am) and jazz bassist Nick Jost (who also handles keyboards) as their new rhythm section. Purple was produced by Dave Fridmann (Flaming Lips, Sleater-Kinney) and issued on the band's Abraxan Hymns label. Baroness' penchant for using colors as album titles is apt here: Purple denotes both bruising and healing. Musically, this is an energetic (at times anthemic) hard rock album whose songs are drenched in hooks, soaring vocals, and vibrant singalong choruses; they're scored for blistering twin guitars, a forceful, inventive rhythm section, and a boatload of sonic atmospheres. Throughout, influential references seemingly emerge at once: Mastodon, Wishbone Ash, The Obsessed, early Queen, Thin Lizzy, Iron Maiden, Metallica, etc. Fridmann is an equal collaborator: His creatively textured palette is dynamic and sprawling. Baizley's lyrics continually reference the aftermath of trauma but never weigh down the songs. The first four tracks -- "Morningstar," "Shock Me," "Try to Disappear" and "Kerosene" -- are stone killers. Each contains a brief, speculative intro that gives way to a full-tilt rocker. Tightly written verses/chorus/verse/bridge structures are accompanied by massive riffing and biting, kinetic instrumental breaks. The spacious atmospherics that introduce "Chlorine & Wine" ring and sway before the drum kit, bassline, and dual guitars start cranking through riffs answered by thunder cracking fills. The twin lead guitar break here is the best one on the record. Like "Kerosene" on the first half, "The Iron Bell" and "Desperation Burns" are heavy, hard-hitting metallic jams with vast sound palettes that never minimize the attack factor. There are two things that each of these tracks share: the first is Baizley's expressive vocal (remarkable given his limited range). The second is that they all seem to wed the heaviness of 2007's Red Album to the finest melodic hooks from Yellow & Green. The instrumental "Fugue" is painted with billowing ambient sonics, serpentine leads, and electric piano, all guided by a nocturnal snare and hi-hat groove. The melancholy power ballad "If I Have to Wake Up (Would You Stop the Rain?)" pairs the Gothic longing of the Cure's Robert Smith with the progressive rock of Porcupine Tree, and strains through Baroness' signature crunch in a striking finish. Though not as "experimental" as their previous couple of records, as a whole Purple is far more focused, and it's certainly more euphoric. Surviving a close brush with death resulted in a celebratory affirmation of life that equates physical bombast and rockist swagger with woozy, dreamy, rainbow-streaked beauty. --AllMusic Review by Thom Jurek
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Johann Sebastian Bach - The Well-Tempered Clavier, Book I, Preludes & Fugues Nos. 9-16, BWV 854-861 - Glenn Gould (1964/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Glenn Gould
Title: Bach, J.S. - The Well-Tempered Clavier, Book I, Preludes & Fugues Nos. 9-16, BWV 854-861
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1964/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:34:39
Recorded: 1963


Gould launched his complete recording of the “Pianists’ Old Testament” on 10 January 1962. It would eventually occupy him for more than nine years. “We recorded ten or even fifteen different versions of some of the preludes and fugues. Nearly every one was perfect, note for note, yet still completely different. It was an amazing experience to witness how each version became something completely new in Gould’s hands.”
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Johann Sebastian Bach - Lutheran Masses II - Bach Collegium Japan, Masaaki Suzuki (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685–1750), Marco Gioseppe Peranda (1625–75)
Artist: Bach Collegium Japan, Masaaki Suzuki
Title: Bach J.S. - Lutheran Masses II
Genre: Classical
Label: © BIS Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical
Duration: 71:30
Recorded: February 2014 (BWV 233, 234) and February 2015 (Peranda) at Kobe Shoin Women’s University Chapel, Japan


By Bach's time, the traditional forms of church service had been fundamentally altered by the Reformation, and in German churches Latin had yielded to the country's own language. To an extent, however, the Latin mass text did remain in use in Protestant church music – in particular the Kyrie and Gloria sections. Albeit incomplete, this form of mass setting was termed ‘Missa’; nowadays the pieces are often referred to as 'Lutheran Masses'. Bach's famous Mass in B minor, later expanded into a complete mass, began its existence as a work of this kind, and four other examples from Bach's pen have survived. The recent release of the Missae in G minor and G major (BWV 235 and 236) caused the reviewers in Gramophone and Fono Forum to eagerly look forward to the sequel, and Bach Collegium Japan and Masaaki Suzuki have not kept them waiting. Like their companion works, the two Lutheran Masses recorded here make extensive use of earlier compositions by Bach and include reworkings of arias and choruses from cantatas, but each of the four masses also has its own unmistakable artistic profile. The most telling detail on the present disc is the instrumentation, where Bach’s choice of flutes in BWV 234 and of horns and oboes in BWV 233 contributes to the individual character of each work. In his task of supplying the music for church services Bach also performed music by other composers, among them Marco Gioseppe Peranda whose Kyrie-Gloria mass closes the disc. Born in 1625, Peranda trained in Rome, and was active in the Dresden Hofkapelle from the 1650s until his death in 1675. Copies in Bach’s hand of parts of Peranda’s splendidly contrapuntal Missa in A minor exist, and it is likely that Bach performed the work during the latter part of his Leipzig period.
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C.P.E. Bach, Graun, Hesse - Trios for Fortepiano & Viola da Gamba - Lucile Boulanger, Arnaud de Pasquale, Laurent Stewart (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Gottlieb Graun (1703-1771), Carl Philipp Emanuel Bach (1714-1788), Ludwig Christian Hesse (1716-1772)
Artist: Lucile Boulanger, Arnaud de Pasquale, Laurent Stewart
Title: C.P.E. Bach, Graun, Hesse: Trios for Fortepiano & Viola da Gamba
Genre: Classical
Label: © Alpha Productions | Outhere Music
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:11:30
Recorded: from 20 to 24 December 2014 at Studio Flagey, Brussels (Belgium)

For this second recording in duo, Lucile Boulanger and Arnaud de Pasquale propose a journey to 18th-century Germany, in the marvellous setting of the Sans Souci palace where Frederick II of Prussia had established his court.

This disc, reflecting the extraordinary conjuncture experienced by the court of Berlin under Frederick II, brings together some of the virtuosic works for viola da gamba and fortepiano by Carl Philipp Emmanuel Bach, Johann Gottlieb Graun or Ludwig Christian Hesse and attesting to the results of fruitful collaborations between the composers at that court.
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Anouar Brahem - Le voyage de sahar (2006) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Anouar Brahem
Title: Le voyage de sahar
Genre: Jazz, New Age, Middle Eastern Traditions, Traditional Middle Eastern Folk, Ethnic Fusion, Avant-Garde Jazz, Modal Music
Label: © ECM Records GmbH | ECM Reviews
Release Date: 2006
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:03:51
Recorded: February 2005, Auditorio Radio Svizzera, Lugano


Over the past 15 years, Tunisian oud master Anouar Brahem has assembled a relatively small but profound body of work. A skilled improviser who refuses to be part of the historical authenticity argument, Brahem works from the same trio setting that performed on Le Pas du Chat Noir in 2002, with pianist François Couturier and accordionist Jean-Louis Matinier. The dialogue between these players is, despite the sparseness of the music and the considerable space employed, intense. The deep listening necessary in the improvised sections allows for a natural flow of ideas to emerge from silence. The compositions themselves are skeletal, with repeating, slowly evolving vamps and lyric lines. They offer, on the surface, a contemplative approach, and indeed can be heard that way. However, when dynamics, timbre, and chromatics are listened for, what takes place is rather astonishing. Each player walks to the middle of a composition, steps back and reenters after ideas by the others are introduced, producing a kind of organic improvisation seldom heard. This is not to say that the most structured works here, such as "Vague/E la Nave Va," aren't full of meditative delight as well. They are, and there are vast spaces into which the listener can enter and disappear for a while -- not so much to drift and dream as to be absorbed in their hypnotic and repetitive beauty. "Les Jardins de Ziryab" begins with Matinier's accordion, which is answered by the oud and Brahem's voice, accompanying them both. It unfolds from the center out. "Le Chambre, Var." begins, for this ensemble, at a trot. Couturier's chord voicing and Brahem's percussive approach create a winding musical narrative that Matinier's accordion underscores rhythmically. The keyboard and air pulse create a terrain where intricate melodic lines come out of modal and chromatic tensions. Ultimately, Brahem has given listeners another of his wondrous offerings, full of deceptively simple compositions that open into a secret world, one where beauty is so present that it is nearly unapproachable, and it is up to the listener to fill in the spaces offered them by this remarkable trio. --AllMusic Review by Thom Jurek
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Anouar Brahem Trio - Astrakan cafe (2000) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Anouar Brahem Trio
Title: Astrakan café
Genre: Jazz, New Age, Ethnic Fusion, Avant-Garde Jazz
Label: © ECM Records GmbH | ECM Reviews
Release Date: 2000
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 01:03:51
Recorded: June 1999, Monastery of St. Gerold, Austria

Innovative Tunisian oud virtuoso Anouar Brahem presents this highly-acclaimed album of typically Middle Eastern music, recorded in 1999 with a trio that had been his first priority for several years. The improvisational exchanges between Brahem, clarinettist Barbaros Erköse and percussionist Lassad Hosni are exceptionally fluid and the atmospheres they create here are by turns mysterious, hypnotic and dramatic.
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