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Gabriel Faure - Le jardin clos & L'horizon chimerique - Jacques Herbillon, Thedore Paraskivesco (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Gabriel Fauré (1845-1924)
Artist: Jacques Herbillon, Théodore Paraskivesco, Anne-Marie Rodde
Title: Fauré - Le jardin clos & L'horizon chimérique
Genre: Classical
Label: © Calliope Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 36:28
Recorded: 197?
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Blink-182 - California (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Blink-182
Title: California
Genre: Pop Rock, Punk Rock, Alternative Rock, Punk Revival, Punk Pop
Label: © Viking Wizard Eyes/BMG Rights Management
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 42:36
Recorded: January–March 2016, Foxy Studios, Woodland Hills, California


After a stretch of uncertainty and stagnation, blink-182 returned with their seventh LP, California, their best in 15 years. The debut from "blink v3.0" features new guitarist Matt Skiba, the Alkaline Trio frontman who replaced founding member Tom DeLonge in 2015. Skiba joins Mark Hoppus and Travis Barker on an album that is both a return to form and an admirable maturation of the band's classic pop-punk sound. Whereas 2003's self-titled album had its moments, the 2011 follow-up Neighborhoods was an uninspired, stale comeback from a trio that had lost its heart and sense of fun. In the end, they sounded like imitations of younger bands they helped inspire. With California, blink-182 are free from the drama, reinjecting much-needed vitality and spirit back into the catalog. Fortunately, this is not merely blink-meets-Alkaline. Skiba has assimilated, while introducing new angles to the longtime Hoppus-Barker relationship with deeper vocals and bolder guitar. Those trademark blink riffs and "na-na-na"s remain intact ("Sober"), which should please the faithful. While the loss of DeLonge's nasally whine is a departure -- for better or worse -- the harmonies remain tight between Hoppus and Skiba ("Rabbit Hole," "Los Angeles"). Producer and Goldfinger frontman John Feldmann -- the first outside man since longtime producer Jerry Finn passed in 2008 -- received songwriting credit on every track and captured blink's essence and tightened their focus. Lead single "Bored to Death" kicked off the new era with a reminder of blink's appeal: sunny harmonies, a catchy melody, and a massive singalong chorus. The pogo-ing "She's Out of Her Mind" is "The Rock Show" redux, and "The Only Thing That Matters" is a raucous throwback for the fans who miss the Raynor-era. And yet, while these are all nods to the past, California doesn't wallow in by-the-numbers nostalgia. It's not a desperate grasp at youth and faded glory, but rather a reflective look back and an expert execution of what they do best. In addition to those quintessential blink hallmarks, there are many big moments on California conceived with outside collaborators. Faint turntable scratching courtesy of DJ Spider can be heard on "Sober," an arena-ready anthem co-written by Fall Out Boy's Patrick Stump. David Hodges (Evanescence, Avril Lavigne) contributes to a trio of tracks in the album's mid-section, including another big tune, the pounding "Kings of the Weekend." Boys Like Girls' Martin Johnson assists on the title track, a bittersweet love letter to their home state. Whether it's DeLonge's absence or an actual maturation, there's something less bratty and sophomoric about California. For the guys who once ran around naked for a video and featured a porn star on an album cover, this is actually a welcome shift, evidence of natural development and an eye to the future. Even with the inclusion of a pair of short, juvenile ditties, blink-182 can't fool anyone. The guys have grown up and the results are as catchy and enjoyable as anything they ever did in their youthful heyday. --AllMusic Review by Neil Z. Yeung
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Avishai Cohen - Into The Silence (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Avishai Cohen
Title: Into The Silence
Genre: Jazz, Modern Creative, Straight-Ahead, Mainstream Jazz, Trumpet jazz
Label: © ECM Records GmbH | ECM Player
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:53:04
Recorded: July 2015, Studios La Buissonne, Pernes-les-Fontaines


Avishai Cohen impressed a lot of listeners with his soulful contributions to Mark Turner’s Lathe of Heaven album in 2014. Now the charismatic Tel Aviv-born trumpeter has his ECM leader debut in a programme of expansive and impressionistic compositions for jazz quartet (trumpet, piano, bass, drums), augmented by tenor saxophone on a few pieces. Into The Silence is dedicated to the memory of Avishai’s father David, reflecting upon the last days of his life with grace and restraint. Avishai’s tender muted trumpet sets the emotional tone of the music in the album’s opening moments and his gifted cast of musicians explore its implications. Israeli pianist Yonathan Avishai has played with Cohen in many settings and solos creatively inside the trumpeter’s haunting compositions, sometimes illuminating them with the phraseology of the blues. Cohen and drummer Nasheet Waits have a hypersensitive understanding and their interaction can, from moment to moment, recall the heyday of Miles Davis and Tony Williams or Don Cherry and Billy Higgins. Yet this music, while acknowledging inspirational sources, is very much of our time. Bassist Eric Revis, a cornerstone of the Branford Marsalis quartet for two decades, provides elegant support throughout. And saxophonist Bill McHenry, a subtle modernist who has worked with Paul Motian and Andrew Cyrille, shadows Cohen’s lines with feeling. Into The Silence was recorded at Studios La Buissonne in the South of France in July 2015 and produced by Manfred Eicher.
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Dio - The Last In Line (1984/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dio
Title: The Last In Line
Genre: Rock, Hard Rock, Heavy Metal
Label: © Warner Bros. Records
Release Date: 1984/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 41:28
Recorded: Caribou Ranch, Colorado

The Last In Line is the second studio album by the American heavy metal band Dio, released on July 2, 1984. It is the first Dio album to feature former Rough Cutt keyboardist Claude Schnell.
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Dio - Holy Diver (1983/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Dio
Title: Holy Diver
Genre: Rock, Hard Rock, Heavy Metal
Label: © Warner Bros. Records
Release Date: 1983/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 41:41
Recorded: Sound City Studios, Van Nuys, California, 1983

Black Sabbath's vocalist and drummer, Ronnie James Dio and Vinny Appice, broke off from Sabbath to form Dio with two others, Jimmy Bain and Vivian Campbell. The resulting debut album was loved by the press and went platinum in the US while also climbing up the charts in several other countries. In the US Billboard Top 200 Albums, it peaked at #56.
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Eric Clapton And Guests - Crossroads Revisited: Selections from the Crossroads Guitar Festivals (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Eric Clapton And Guests
Title: Crossroads Revisited: Selections from the Crossroads Guitar Festivals
Genre: Blues, Acoustic Blues, Blues Rock, Guitar Virtuoso, Instrumental Rock, Modern Acoustic Blues, Modern Electric Blues, Roots Rock
Label: © Crossroads Concerts L.L.C./Rhino Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 03:44:14
Recorded live at the Crossroads Guitar Festival 2004, 2007, 2010 & 2013

Whether you’re a guitarist, a wannabe string-slinger, or just a fan of the sounds that emanate from the instrument in question, it’s a fair bet that you’re familiar with a gentleman named Eric Clapton. In addition to his career as a recording artist, Clapton is also the founder of the Crossroads Guitar Festival, a recurring event which brings together guitarists from across the musical spectrum to take the stage and strut their stuff. Although these concerts have become the stuff of legend since the initial festival in 2004, precious few performances from the shows have made their way to CD or any other format in an official fashion.
That’s changing in a big way with Crossroads Revisited: Selections from the Crossroads Guitar Festival, which has just become available digitally and on CD. It’s a 40-track collection which features performances from the four festivals to date – 2004, 2007, 2010, and 2013 – and to say that it features an all-star cast of guitarists is undeniable.
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Antonin Dvorak - Slavonic Dances Opp. 46 & 72 - Symphonieorchester Des Bayerischen Rundfunks, Rafael Kubelik (1975/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Antonín Dvořák (1841-1904)
Artist: Symphonieorchester Des Bayerischen Rundfunks, Rafael Kubelik
Title: Dvořák - Slavonic Dances Opp. 46 & 72
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 1975/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:10:28
Recorded: December 1973 & June 1974, Residenz, Herkulessaal, Munich, Germany


Many critics agree that these classic mid-1970s recordings of Dvořák's complete set of 16 Slavonic Dances rank among the greatest versions ever released, showcasing Czech conductor Rafael Kubelik leading the Symphonieorchester des Bayerischen Rundfunks.
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Carrie Underwood - Play On (2009) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Carrie Underwood
Title: Play On
Genre: Pop, Country Pop, Pop Rock
Label: © 19 Recordings/Arista Nashville
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 00:48:25
Recorded: 2008–09; Starstruck Studios, Nashville; Maratone Studios, Stockholm; Germano Studios, New York City

Play On was released in 2009 and is Carrie Underwood's third studio album. It was produced by Mark Bright, Max Martin, and Shellback. It debuted at #1 on the Billboard 200 chart and was certified 2x Platinum by the RIAA in 2013. The album won Album of the Year at the 1st American Country Awards and won Favorite Country Album at the 2010 American Music Awards. "Cowboy Casanova" was the lead single for the album and peaked at #1 on the Billboard Hot Country Songs chart.
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Carrie Underwood - Carnival Ride (2007) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Carrie Underwood
Title: Carnival Ride
Genre: Pop, Country Pop, Pop Rock
Label: © 19 Recordings/Arista Nashville
Release Date: 2007
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: AcousticSounds
Duration: 00:50:27
Recorded: 2006-2007, Starstruck Studios, Nashville, TN


The pivotal American Idol moment for Carrie Underwood was when she teased her hair to the heavens and sang Heart's "Alone," belting out the power ballad with sincerity and a natural flair for drama. It was the surest sign that Carrie wasn't merely the country star the show gladly pigeonholed her as, that she was a pop star by any measure. Of course, the great irony was that Carrie had little interest in being a pop star; she wanted to be a country singer, but the sheer magnitude of American Idol meant that she was already a pop star who needed to cross over to country, a reverse of the usual crossover move. Underwood pulled off that tricky maneuver with a deceptive ease on her 2005 debut, Some Hearts, which turned into a smash success, turning sextuple platinum at a time when many albums struggle to go gold, even surpassing the sales of the original Idol, Kelly Clarkson. Such success raised the bar for her 2007 follow-up, Carnival Ride. Traditionally, second albums are a place where artists consolidate their strengths or expand their reach, either with an eye toward artistic growth or commercial success, and Carrie chooses the former option, creating a record that is more purely country than her debut. She dials down the pageantry drama that peppered her debut -- there are no Diane Warren songs, for instance -- and plays up her humble, all-American persona, singing songs about small towns and big dreams, even attempting to kick up some dirt and grit on the one-night-stand anthem "Last Name," which is Miranda Lambert filtered through Shania Twain. And one of the striking things about Carnival Ride is how completely Carrie Underwood has stepped into the void that Shania and Faith Hill left behind: the small-town girl made good but who hasn't left her roots behind. In other words, she hasn't made the big pop diva move that Shania did with Up! or Faith with Cry; she's planted herself firmly within country. Now, Carrie's country is hardly traditionalist -- despite the lack of Diane Warren tunes, there are plenty of power ballads here, along with light drum loops that aren't commonly heard in Nashville -- but her approach is completely contemporary country, in how it blurs the borders between country and arena rock, something that's perfect for a girl who made her first big splash singing Heart. Sound and feel do mean a lot, but country records really survive on the strength of their songs, and the remarkable thing about Carnival Ride is that it's stronger song for song than Some Hearts, some of this due to Carrie herself, who bears four songwriting credits here, often in conjunction with some permutation of Steve McEwan and Hillary Lindsey, who pen a bunch of other tunes here. The songs may veer just a bit too close to the big power ballads, but they all work as strong pieces of commercial country, built on surging melodies (all the better for Carrie to belt) and lyrics that play into Underwood's small-town girl persona but are also open-ended enough to be relatable. All this very well may be more calculating than it appears, but the appealing thing about Carnival Ride is that it plays so smoothly and assuredly that you just go along for the ride, especially because Carrie sells these songs completely, making the clichés and cornball phrases believable. It's a gift that Shania had, but she always seemed larger than life. In contrast, Carrie Underwood only sounds larger than life, and she still comes across like the girl next door despite her massive success, and this lingering sense of innocence -- however constructed for stage it may be -- gives an album as big and shiny as Carnival Ride the appearance of a genuine heart, something that no other big country-pop album has had since the glory days of Come on Over. --AllMusic Review by Stephen Thomas Erlewine
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Carrie Underwood - Blown Away (2012) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Carrie Underwood
Title: Blown Away
Genre: Pop, Country Pop, Pop Rock
Label: © 19 Recordings/Arista Nashville
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 00:55:37
Recorded: February 27 – November 22, 2011, Starstruck Studios

Prior to the release of her fourth album, Blown Away, in the spring of 2012, Carrie Underwood claimed that she was getting back to having "real things to write about and real things to sing about" -- a sentiment that's all well and good but has precisely nothing to do with the brassy blowout of the finished product. Dispensing with any pretense that Underwood remains a down-home country girl -- the kind who takes carnival rides and sticks a daisy in her hair -- Blown Away is an unabashed glossy pop album, positioning Carrie as the heir to Shania Twain and Faith Hill's country diva act, pushing the comparisons so far that she looks like a runway refugee on the album cover and she concludes the hourlong marathon with a song written by Twain's former husband, Mutt Lange. Naturally, this showstopping act suits a former American Idol winner but, better still, this exercise in turn-of-the-millennium nostalgia is executed with skill and savvy, offering the kind of larger-than-life power ballads and cheerful, clomping arena country that have fallen out of favor in the early days of the 2010s. Not that Underwood and team -- led by producer Mark Bright and also featuring songwriters Ashley Gorley, Chris DeStefano, Josh Kear, Hillary Lindsey, and Ryan Tedder -- are ignorant of the country and pop trends of 2012. They find room for light, sunny pop ("Do You Think About Me," "Nobody Ever Told You"), a bit of Caribbean breeze on "One Way Ticket," and a stomping chant-along hook on "Leave Love Alone," and they splice Miranda Lambert and Gretchen Wilson together on the ludicrously fun "Cupid's Got a Shotgun," which is enough to make Blown Away not seem like a throwback even if its heart belongs to the days of diamond-certified albums. Sure, that diva worship makes it seem ever so slightly old-fashioned, yet this is Carrie's wheelhouse -- she's meant to sing these oversized ballads and hooks, she's meant to look as unattainable as she does on the cover. She's meant to be be a superstar and she's never seemed as comfortable with her calling as she does on Blown Away. --AllMusic Review by Stephen Thomas Erlewine
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