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Moby & The Void Pacific Choir - These Systems Are Failing (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Moby & The Void Pacific Choir
Title: These Systems Are Failing
Genre: Electronic, Alternative Dance, Dance Rock, New Wave, Post Punk
Label: © Little Idiot
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:35:51


Pioneering electronic musician/DJ/producer Moby releases his 12th album These Systems Are Failing, as Moby & The Void Pacific Choir. As with much of Moby’s output during his nearly three-decadelong career, it’s not surprising that a spiritual & political questioning underpins the nine songs comprising latest full length album. In characteristically iconoclastic fashion, the weighty themes explored throughout These Systems Are Failing find expression in the most direct & personal music Moby has ever created. “That quality of atmospheric sadness I’ve done so much of before isn’t here – there’s nothing quiet or ambient,” he notes. “Sonically, this record isn’t subtle: it’s big & loud, with huge kick drums & massive choral choruses.”
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Mike Watt - Ball-Hog Or Tugboat (1995/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Mike Watt
Title: Ball-Hog Or Tugboat
Genre: Rock, Alternative Rock
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 1995/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:08:03
Recorded: May 29 - September 11, 1994

Ball-Hog or Tugboat? is the debut solo album by former Minutemen and fIREHOSE bassist, songwriter and vocalist Mike Watt. It was recorded in 1994, and came at a personal and professional career crossroads for Watt. fIREHOSE had broken up after eight years and six releases earlier in 1994, and his marriage to former Black Flag bassist Kira Roessler had ended in divorce (although both their friendship and their dual-bass project Dos continued; Kira also contributed some computer graphics to the album's artwork).
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Michele Lee - A Taste Of The Fantastic (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Michele Lee
Title: A Taste Of The Fantastic Michele Lee
Genre: Pop, Traditional Pop, Vocal Pop
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:31:01
Recorded: 196?


Although best remembered for her role as matriarch Karen Fairgate MacKenzie on the long-running prime-time soap opera Knots Landing, Michele Lee also enjoyed a career as a recording artist during the late '60s, scoring a minor pop hit with 1968's "L. David Sloane." Born Michelle Lee Dusick in Los Angeles on June 24, 1942, she was the daughter of Hollywood makeup artist Jack Dusick. By age three she was singing professionally, and made her television debut in a 1959 episode of The Many Loves of Dobie Gillis. In 1961 Lee co-starred in the Broadway smash How to Succeed in Business Without Really Trying, later reprising her role as Rosemary in the 1967 feature film version. By 1963, she was a regular television presence, appearing on The Danny Kaye Show, What's My Line, and Match Game. Following successful nightclub appearances at venues including New York City's Persian Room and Las Vegas' Sands Hotel, Lee signed to Columbia Records to release her 1967 debut LP, A Taste of the Fantastic. L. David Sloane followed a year later, coinciding with her co-starring role in the Disney blockbuster The Love Bug. After 1969's feature The Comic, Lee returned to television, guesting on series including Love American Style and Marcus Welby M.D. In 1974, she also headlined her own failed sitcom pilot, The Michele Lee Show, and earned Tony Award nomination for her work in the Broadway production Seesaw. After the 1976 death of her mother, Lee withdrew from the spotlight for several years before resurfacing in 1979 on the Dallas spinoff Knots Landing. She remained with the series throughout its 14-season network run, setting the record for the most consecutive appearances by an actress in a prime-time dramatic series with 344. By the 1989 season Lee was occasionally directing episodes of Knots Landing as well, and after playing the title role in the 1995 telefilm Big Dreams and Broken Hearts: The Dottie West Story, she co-wrote and directed the 1996 Lifetime production Color Me Perfect. Lee returned to Broadway in the 2000 production Tale of the Allergist's Wife, and four years later appeared in the romantic comedy Along Came Polly, her first feature film work in 35 years. --Artist Biography by Jason Ankeny
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Metallica - Hardwired...To Self-Destruct (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Metallica
Title: Hardwired...To Self-Destruct
Genre: Rock, Hard Rock, Heavy Metal, Speed/Thrash Metal
Label: © Blackened Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: metallica.com
Duration: 02:37:10
Recorded: May, 2015 - August, 2016, Metallica HQ, San Rafael, CA; Tracks 17–25 recorded live at Rasputin Music in Berkeley, California on April 16, 2016; Track 26 recorded live at U.S. Bank Stadium in Minneapolis, Minnesota on August 20, 2016

Metallica began their long journey back home some time after nearly imploding during the recording of 2003's St. Anger. Hardwired...To Self-Destruct arrives 13 years after that album but it, almost more than its 2008 predecessor Death Magnetic, feels like a repudiation of the band's '90s, the years when Metallica shined up, slowed down, and got a lot weirder. Sprawling over two discs when it could've fit onto one (an aesthetic choice certainly meant to evoke memories of 1988's double LP ...And Justice for All), Hardwired...To Self-Destruct does indeed rage, roaring out the gate with a title track where James Hetfield bellows "We're so f***ed/S*** out of luck." That palpable desperation recalls the free-floating angst that fueled Metallica's '80s, but Hardwired...To Self-Destruct doesn't find the quartet scrambling to sound as ferocious as they did during their heyday. Often, they do unleash the fury -- "Moth into Flame" gallops forward in a manner reminiscent of "Battery" -- but there's no denying that Metallica are an older band now, either incapable or uninterested in maintaining that intensity over the course of a full double album. When they slow down, it's not exclusively to churn and brood. "Murder One," a salute to departed Motörhead leader Lemmy, may belong in that category, but "Am I Savage?" teeters between ominous dirge and intricate transitions, while "Dream No More" has a backbeat that nearly swings. "ManUNKind" also has a bit of buried funk in its rhythms and that, along with the preponderance of complicated suites, is a clue that Hardwired...To Self-Destruct is primarily the work of Hetfield and Lars Ulrich. Kirk Hammett doesn't have a single songwriting credit -- allegedly, this is due to the guitarist losing an iPhone filled with riffs just prior to recording -- and he's also diminished in terms of solos, leaving Hardwired as a showcase for Metallica's musical constructions. If the riffs don't always sink in deeply -- and if the entire production feels slightly monochromatic -- what impresses here is the thought and musicality within the compositions and the performances, elements that have always been at the band's core and shine brightly on Hardwired...To Self-Destruct. --AllMusic Review by Stephen Thomas Erlewine
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Mauricio Einhorn - Me (1979/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Maurício Einhorn
Title: Me
Genre: Jazz, Fusion, Latin Jazz, Bossa Nova
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1979/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:42:28
Recorded: June 1979, Rio de Janeiro

Jazz harmonica legend Toots Thielemans called his friend harmonicist/composer Mauricio Einhorn “…a vital force in Brazilian music both as a player and a composer.” Einhorn’s influence flows over into jazz. He has worked with such major figures as Jim Hall, David Sanborn, Paquito D’Rivera, Baden Powell, as well as singers Bobby McFerrin, and Sarah Vaughan; the likes of Cannonball Adderley, Herbie Mann and Bossa Nova legend Jobim have recorded his compositions. Made in Rio in 1979, Me was Mauricio’s first album under his own name – and what a recording! Einhorn assembled a group of crack musicians around him, all versed in their native Brazilian music as well as jazz. The ten original compositions testify to Einhorn’s stature as a composer. There’s the infectious A Different Beat with outstanding harmonica, piano and flute solos, Saro with its up-tempo harmonica, sax, and fender bass solos, the exquisite ballad Alvorada, and the perky gem Estamos Ai. Then we have the gentle jazz waltz Toy, and a theme written for jazz greats Ron Carter and Jim Hall, Limbo with its powerful vocals. The short but sweet Claus is followed by the hauntingly romantic Tristeza De Nos Dois and the riveting Sketch. Einhorn’s passionate solo on his ballad Joy ends an album that will satisfy every lover of Brazilian music. Latin jazz at its creative best!
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Marianne Crebassa - Oh, Boy! (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Marianne Crebassa
Title: Oh, Boy!
Genre: Classical
Label: © Warner Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:12:29
Recorded: Großer Saal, Stiftung Mozarteum Salzburg, 4-8 January 2016

“One of the most important voices of our time,” is how the young French mezzo-soprano Marianne Crebassa is described by Marc Minkowski, the distinguished conductor for her debut album, Oh, Boy! Comprising arias for young male characters who are sung by a woman – the so-called ‘trouser roles’ – it offers an alluring programme of Mozart, Chabrier, Gluck, Gounod, Hahn, Massenet, Meyerbeer, Offenbach and Thomas. Crebassa – praised by Le Monde for her “incredibly beautiful timbre and transcendent presence” – shows why she has already made an impact at the Paris Opéra, La Scala, Milan, the Berlin Staatsoper and the Salzburg Festival.

When she sang at the Salzburg Festival in 2014, the Financial Times described Crebassa as “dazzling … with doe-eyed looks, the seductive innocence of Debussy’s Mélisande and a luscious voice that seems destined for Massenet’s Charlotte.” The New York Times has hailed her as “splendidly charismatic” and Die Welt has praised her “evenly produced, shimmering timbre”. Shortly after she graduated from the Conservatory of Montpellier, not far from her hometown of Béziers in southern France, Forum Opéra described her voice as “opulent and perfectly projected,” singling her out as “an artist we are sure to hear more about.”
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Gustav Mahler - Symphony No. 6 - Budapest Festival Orchestra, Ivan Fischer (2006) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Mahler - Symphony No. 6 in A-Minor
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2005
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:18:19
Recorded: Palace of Arts, Budapest, February 2005

After the dress rehearsal, Mahler paced back and forth in the greenroom, wringing his hands and sobbing. He was beside himself. In the last movement he had let his 'hero' be killed by three violent blows of fate, a sort of Old Testament prophecy of the destruction of humanity by a higher power. In the score he symbolically notated three dull thuds made by a hammer on a wooden box which he had had especially built. But after the premiere he removed the third blow in measure 783. And as a symbol of the last remains of earthly existence he brought in the characteristic sound of cowbells, the last sounds which echo from the valleys and meadows on the highest summits of the world. They were meant to sum up the whole of human experience, from childlike innocence and wonder to fury, despair, and destruction. His Sixth Symphony is the most merciless and uncompromising portrayal of this vision....
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Gustav Mahler - Symphony No. 5 - Budapest Festival Orchestra, Ivan Fischer (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Mahler - Symphony No. 5 in C-Sharp Minor
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:14:12
Recorded: Palace of Arts, Budapest, Hungary, September 2012


The Fifth is the most Jewish of all Mahler’s symphonies. The first movement takes usto the unmistakable mood of Jewish lamentation, the finale to the childlike visionof messianic joy.As we know, Mahler converted to Catholicism. Views may differ as to whether hisdecision was opportunistic or a question of religious conviction. Christianity plays animportant part in much of Mahler’s music, though not in this particular work.Perhaps I may take the liberty of referring briefly to my own family. My ancestors(like Mahler’s) were merchants in a small shtetl in the Habsburg Empire. They wereobservant Jews. My grandfather, three years older than Gustav Mahler, decided toleave this religious lifestyle behind him when he went to study in Vienna. My fatherand his brothers were brought up without any religious education. They adoredGoethe, Mozart, Beethoven and Richard Wagner. One of the four brothers convertedto Catholicism when he married a daughter of a converted family. Later, underNazi occupation, when it seemed for a while that converting might help them avoiddeportation, two of my uncles and an aunt became Catholics; the other members of thefamily did not.Whether or not these decisions were opportunistic was never discussed in myfamily. Nobody cared - these were considered unimportant, personal decisions, partlydictated by circumstances. Converts or no converts, nobody practised any religion andeverybody adored culture. And they all hummed tunes like those in Mahler’s FifthSymphony. --Iván Fischer
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Gustav Mahler - Symphony No. 4 - Miah Persson, Budapest Festival Orchestra, Ivan Fischer (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Miah Persson, Budapest Festival Orchestra, Iván Fischer
Title: Mahler - Symphony No. 4 in G major
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2009
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:56:40
Recorded: Palace of Arts, Budapest, Hungary, September 2008

There is a unique purity and transparency in Mahler's 4th Symphony. The enchanting slay bells take us to his inner child, to his dreams of angels, fairy tales, angst and pure, divine love. This child-like symphony needed a different orchestra: no dark tuba, no heavy trombones, no large arsenal of massive brass. A chamber orchestra in fact, where the clarinets act as mock trumpets, the solo violin tunes his strings sharper in order to scare us and the lightness of the whole orchestra lifts us up to his lovely, childish vision of paradise. --Iván Fischer
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James MacMillan - Violin Concerto & Symphony No. 4 - Vadim Repin, BBC Scottish Symphony Orchestra, Donald Runnicles (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Sir James MacMillan (b.1950)
Artist: Vadim Repin, BBC Scottish Symphony Orchestra, Donald Runnicles
Title: MacMillan - Violin Concerto & Symphony No. 4
Genre: Classical
Label: © Onyx Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:05:26
Recorded: Royal Albert Hall, London, 3 August 2015 (Symphony No.4 – World Premiere); City Halls, Glasgow, 6 March 2016 (Violin Concerto)


Two major works from Sir James Macmillan make their CD debut! The Violin Concerto is performed on this disc by its dedicatee Vadim Repin.
Reviewing the world premiere, David Nice of The Arts Desk lauded, "As soloist Vadim Repin and conductor Valery Gergiev whirled us tumultuously through its hyperactive songs and dances, there was so much I wanted to savour, to hear again. That won't be a problem. So long as there are violinists of Repin's calibre able to play it, the work is here to stay."
The 4th Symphony is dedicated to Donald Runnicles and was written to celebrate his 60th birthday. Sir James MacMillan is one of today’s most successful composers. His musical language is flooded with influences from his Scottish heritage, Catholic faith, social conscience and close connection with Celtic folk music, blended with influences from Far Eastern, Scandinavian and Eastern European music.
The 4th Symphony recording is from the 2015 BBC Proms and was the world premiere performance "Densely, at times exotically scored, it was grandly played. Runnicles conducted it with great affection and dignity" Tim Ashley, The Guardian
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