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Xandria - Theater of Dimensions (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Xandria
Title: Theater of Dimensions
Genre: Rock, Symphonic Rock, Power Metal
Label: © Napalm Records Handels GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 74:27
Recorded: Recorded and mixed at Sandlane Recording Facilities, The Netherlands. Zaher Zorgati's vocals recorded in Kevin Codfert Studio, Paris, France.


After the successful release of Sacrificium (2014) and their intensive tour with over 150 shows, that took them around the globe, it’s time to release a new inspiring dimension in the world of Xandria: Please welcome Theater Of Dimensions!
“We brought back plenty of memories, sometimes just bits and pieces, but those stuck to our heads. And it made us see who we are and where we wanted to take our music. All this makes the most colourful Xandria album so far. It contains our most heavy and most emotional moments.” A confident statement by a band that knows it`s ready for a big, big step! German Epic Symphonic Metal stalwarts Xandria found stability with singer Dianne van Giersbergen and now take things to the next level with their seventh studio album, once more produced in loving detail by Joost van den Broek. Theater of Dimensions is a hyper-emotional affair – and a very heavy one too, naturally. High class guest vocals can be heard by mighty Henning Basse (Firewind), Zaher Zorgati (Myrath), Björn Strid (Soilwork) and Ross Thompson (Van Canto). There is a soundtrack-like, orchestral finesse inherent to the compositions, echoed by pounding groove and sophisticated shredding. Folklore and ballad chime in (‘Forsaken love‘), heavy thrash rears its ugly head (‘We are murderers (we all)‘), and overall there is no doubt: Xandria are not only fearless, they are at their most entertaining and thrilling!
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Virpi Raisanen - The Legacy of Mahler (2012/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gustav Mahler (1860-1911), Alban Berg (1885–1935), Arnold Schoenberg (1874–1951), Dmitri Shostakovich (1906-1975), Benjamin Britten (1913-1976)
Artist: Virpi Räisänen
Title: The Legacy of Mahler
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2012/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:53:27
Recorded: Järvenpää Hall, 31.10., 1.11., 3.11.2011


Virpi Räisänen has made a career like a comet in recent years. Her debut album on Ondine, "The Legacy of Mahler", is a collection of late Romanticism lieder. In addition to Mahler you find lieder by Alban Berg, Arnold Schoenberg, Dmitri Shostakovich and Benjamin Britten, all strongly inspired by Mahler. Räisänen's duo partner at the piano is Marita Viitasalo.
Virpi Räisänen's unique sound and strong artist's personality make her one of the most interesting new singers. She completed her vocal studies at the Utrecht and Amsterdam Conservatories with the highest distinction. Following her recent career change from a successful violinist to a concert and opera singer, she has appeared on the stages of the Salzburg Festival, Radio France's Festival Présences, the Aix-en-Provence Festival, the Amsterdam Concertgebouw, Musashino Recital Hall in Tokyo, the Helsinki Music Centre, the Staatsoper in Berlin, the Netherlands Opera and the Handel Festival in Halle. Virpi Räisänen made her debut at the Salzburg Festival in 2009 in Luigi Nono's opera Al gran sole carico d'amore, with Ingo Metzmacher conducting the Vienna Philharmonic. She was invited back to the Salzburg Festival in 2010 for the premiere of Wolfgang Rihm's Dionysos, which was presented in Amsterdam and Berlin as well. She also appeared in Frank Martin's Le vin herbé in the Netherlands. In addition to her achievements in contemporary repertoire, she has sung the leading roles of Elmira in Handel's Floridante, Orfeo in Gluck's Orfeo ed Euridice and the double roles of the Muse and Nicklausse in Offenbach's Les contes d'Hoffmann. In addition to her singing career, Virpi Räisänen is Artistic Director of the Oulunsalo Soi Chamber Music Festival.
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Virpi Raisanen - The Legacy of Mahler (2012/2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Сomposer: Gustav Mahler (1860-1911), Alban Berg (1885–1935), Arnold Schoenberg (1874–1951), Dmitri Shostakovich (1906-1975), Benjamin Britten (1913-1976)
Artist: Virpi Räisänen
Title: The Legacy of Mahler
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2012/2016
Quality: DSF Stereo DSD128/5.64MHz
Source: AcousticSounds
Duration: 00:53:27
Recorded: Järvenpää Hall, 31.10., 1.11., 3.11.2011


Virpi Räisänen has made a career like a comet in recent years. Her debut album on Ondine, "The Legacy of Mahler", is a collection of late Romanticism lieder. In addition to Mahler you find lieder by Alban Berg, Arnold Schoenberg, Dmitri Shostakovich and Benjamin Britten, all strongly inspired by Mahler. Räisänen's duo partner at the piano is Marita Viitasalo.
Virpi Räisänen's unique sound and strong artist's personality make her one of the most interesting new singers. She completed her vocal studies at the Utrecht and Amsterdam Conservatories with the highest distinction. Following her recent career change from a successful violinist to a concert and opera singer, she has appeared on the stages of the Salzburg Festival, Radio France's Festival Présences, the Aix-en-Provence Festival, the Amsterdam Concertgebouw, Musashino Recital Hall in Tokyo, the Helsinki Music Centre, the Staatsoper in Berlin, the Netherlands Opera and the Handel Festival in Halle. Virpi Räisänen made her debut at the Salzburg Festival in 2009 in Luigi Nono's opera Al gran sole carico d'amore, with Ingo Metzmacher conducting the Vienna Philharmonic. She was invited back to the Salzburg Festival in 2010 for the premiere of Wolfgang Rihm's Dionysos, which was presented in Amsterdam and Berlin as well. She also appeared in Frank Martin's Le vin herbé in the Netherlands. In addition to her achievements in contemporary repertoire, she has sung the leading roles of Elmira in Handel's Floridante, Orfeo in Gluck's Orfeo ed Euridice and the double roles of the Muse and Nicklausse in Offenbach's Les contes d'Hoffmann. In addition to her singing career, Virpi Räisänen is Artistic Director of the Oulunsalo Soi Chamber Music Festival.
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Ralph Vaughan Williams - Fantasia on a Theme by Thomas Tallis - Roman Simovic, LSO String Ensemble (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ralph Vaughan Williams (1872–1958), Sir Edward Elgar (1857–1934), Benjamin Britten (1913–1976)
Artist: Roman Simovic, LSO String Ensemble
Title: Vaughan Williams: Fantasia On A Theme By Thomas Tallis; Britten: Variations On A Theme Of Frank Bridge; Elgar: Introduction And Allegro
Genre: Classical
Label: © LSO Live
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:53:52
Recorded live in DSD 128fs, 3 February 2016 at the Barbican, London

The LSO counts the finest orchestral players among its members and its principal players, originating from over 20 countries, are renowned soloists in their own right. Many of these players have developed new ensembles within the Orchestra to hone their incredible musicianship in different ways - from recent recordings of Reich by the LSO Percussion Ensemble to unique chamber performances of Stravinsky The Soldier’s Tale and Mozart Gran Partita. The LSO String Ensemble, directed by Orchestra Leader Roman Simovic and featuring virtuoso principals from each section, are a key example of this practice, showcasing the wealth of talent that the London Symphony Orchestra has to offer. Following two well-received releases, the LSO String Ensemble continues on LSO Live with three English masterpieces, two of which given their first performances by the Orchestra. Premiered in 1910 by the LSO, Vaughan Williams’ Fantasia on a Theme by Thomas Tallis is a visionary fusion of folksong and sacred music. Britten’s Variations on a Theme of Frank Bridge, a challenging landmark of 20th-century string writing, takes the composer’s friend and teacher as its subject with each variation exploring a different aspect of Bridge’s character. Opening the album, Elgar’s Introduction and Allegroi is an incredibly well-loved work with a special significance for the LSO, having been composed for and premiered by the Orchestra.
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VA - One World One Music (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Various
Title: One World One Music
Genre: Pop, Folk, World, Jazz
Label: © Chesky Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:39:15

One thing consistent across cultures, time, and space, is music. It takes many forms in different parts of the world. On this compilation, One World One Music, we feature the music of multiple continents and musicians of several generations.
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Theo Bleckmann - Elegy (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Theo Bleckmann
Title: Elegy
Genre: Jazz, Avant-Garde Jazz, Modern Jazz Vocals, Vocal Jazz
Label: © ECM Records GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:47:04
Recorded: January 2016, Avatar Atudios, New York

Beyond being a vocalist of rare purity and daring, Theo Bleckmann is a sound painter who creates what JazzTimes has described aptly as “luminous webs” in music. The German-born New Yorker – after appearing on two ECM albums by Meredith Monk and another by Julia Hülsmann – makes his striking label debut as a leader with Elegy. This album showcases Bleckmann as a composer as much as a singer, with several instrumental pieces voiced by what he calls his “ambient” band of kindred-spirit guitarist Ben Monder, keyboardist Shai Maestro and the subtle rhythm team of Chris Tordini and John Hollenbeck. Highlights include Bleckmann’s sublime rendition of Stephen Sondheim’s “Comedy Tonight” (“tragedy tomorrow… comedy tonight”), as well as the mellifluous vocalise of “Little Elegy” and achingly poetic “To Be Shown to Monks at a Certain Temple.”
"This record is called Elegy for a reason – each of its songs relates to death or transcendence in some existential way,” Bleckmann explains. “Several of the pieces are instrumental, with ‘Cortege’ a funeral march. In the song ‘Take My Life,’ I imagine what it would be like to die, losing facility bit by bit: losing your voice, your heartbeat, your breath. I wrote that one thinking about Bach and his cantatas, especially ‘Ich habe genug,’ which is about joyfully going into the afterlife. For this album, I wanted to create songs that deal with this subject matter not in a morbid way but with some light to it.”
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The Westerlies - Wish The Children Would Come On Home (2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Westerlies
Title: Wish The Children Would Come On Home - The Music Of Wayne Horvitz
Genre: Jazz, Contemporary Jazz
Label: © Songlines Recordings
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 00:47:10
Recorded: HG Studios, Lopez Island, WA, August 4–8, 2013


Four young Seattle brass players, all relocated to New York City to study at Juilliard and the Manhattan School of Music, decided to form a quartet in late 2011. Through much experimentation they discovered a colorful collective sound that drew from American folk music, indie rock, jazz, and classical music. For the next two years they performed constantly in both cities, creating and developing a large repertoire of original compositions. In early 2013 The Westerlies were approached by their Seattle-based teacher, friend, and mentor, Wayne Horvitz, to create a record of his music. They wholeheartedly agreed; all four of them were already very familiar with his body of work and had played in a number of his ensembles. After exploring his prolific output of the past thirty years, they selected a range of jazz tunes, film music, and classical chamber pieces, and chose to record them on location during their annual summer residency in the San Juan Islands of Washington.
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The Westerlies - The Westerlies (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Westerlies
Title: The Westerlies
Genre: Jazz, Chamber Jazz, Indie Classical, Folk
Label: © Songlines Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:13:42
Recorded: August 26 - September 1 2015, The Farm, West Chester, PA

These four childhood friends from Seattle formed The Westerlies in New York in 2011. Following their critically acclaimed Wayne Horvitz tribute, Wish the Children Would Come On Home, this self-titled release is a double-disc set featuring 14 original compositions by all four band members, as well as pieces by Ellington and Ives and a British folk ballad arranged by Sam Amidon and Nico Muhly. The Westerlies bring together jazz, improvisational, classical and folk feels and approaches, reflecting their individual musical interests and sensibilities as well as their studies at Juilliard and the Manhattan School of Music. The listener can hear each composer gently tugging the ensemble in the direction of his own taste, and the band follows, expressing their friendship through musical empathy.
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The Three Sounds feat. Gene Harris - Groovin' Hard - Live at The Penthouse 1964-1968 (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: The Three Sounds feat. Gene Harris
Title: Groovin' Hard - Live at The Penthouse 1964-1968
Genre: Jazz, Soul Jazz, Straight-Ahead/Mainstream Jazz, Piano Jazz
Label: © 2xHD/Resonance Records
Release Date: 2016
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 00:50:48
Recorded at the Penthouse in Seattle, WA 1964-1968; #1,4,6 - 8/23/68; #2,10 - 6/23/66; #3,5,9 - 2/20/64; #7 - 6/30/66; #8 - 10/22/64


In May of 2010, when Resonance Records first embarked upon the adventure of unearthing and presenting historical jazz recordings to the world, George Klabin and I began looking into various archives for tapes to release. One day, George came to me with a list of tapes he’d come across; tapes in the possession of Jim Wilke, who years earlier had been the host of a syndicated Seattle-based radio program called Jazz After Hours.
Over the course of Jim’s storied career, he’s been a staunch advocate for jazz and its greatest protagonists. Indeed, over the years, Jim has succeeded in presenting a veritable Who’s Who of ’50s and ’60s jazz greats to the public.
From February 1962 through August 1968, Jim hosted the weekly radio program, Jazz from the Penthouse, on Seattle’s KING-FM. As a well-known radio personality in the Northwest, Jim developed a working relationship with Seattle’s legendary jazz club, the Penthouse, and consequently was able to air live performances by a wide array of artists while they performed at the club. These performances were broadcast direct to the public right as they happened. The shows not only went on the air live, Jim taped them, employing professional recording techniques and equipment. Over the years, Jim amassed an impressive collection of high-quality tapes; tapes that form a unique archive of the extraordinary music heard over the course of more than half a decade at the Penthouse by virtually all of the amazing music legends that played there.
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The Tempest- inspired by Shakespeare - Simon-Pierre Bestion, La Tempete (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Matthew Locke (v. 1621–1677), Giovanni Battista Draghi (v. 1640–1708), Henry Purcell (1659–1695), Frank Martin (1890–1974), Philippe Hersant (1948), James Hart (1647–1718), Thierry Pécou (1965)
Artist: La Tempête, Simon-Pierre Bestion
Title: The Tempest: inspired by Shakespeare
Genre: Classical
Label: © Alpha Classics / Outhere Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:20:21
Recorded: From 29 to 31 july 2014 at L’eglise du Saint-Esprit (Choisy-Le-Roi, France)


A profoundly modern dimension emerges from this confrontation between English works from the 17th century (Henry Purcell, Matthew Locke) and works from the 20th and 21st centuries (Philippe Hersant, Franck Martin, Thierry Pécou). Coming from highly different musical universes, each composition is, however, largely inspired by the founding themes of Shakespeare’s play, sometimes taking up excerpts from it.
The text is recited in English, or rather Shakespeare’s ‘Old English’, as are all the sung parts, in order to reproduce the strong, sweet accent of that tongue.
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