Jul 18

Neil Cowley Trio – Touch and Flee (2014)
FLAC (tracks) 24 bit/96kHz | Time – 35:51 minutes | 721 MB | Genre: Jazz
Official Digital Download – Source: Qobuz | Front cover

Touch and Flee is the new recording from Neil Cowley Trio, and marks a defining moment in the evolution of the band. It is their most daring album to date, spotlighting the ever- increasing brilliance of Cowley as a composer.

With long time band mates, Evan Jenkins on drums and Rex Horan on bass, they jump headlong into new territory to present what they describe as “our concert hall record” for an altogether deeper listening journey.

Undoubtedly, Cowley’s confidence and maturity as a composer comes from his experiences of past years. Where Cowley’s previous album saw him composing and arranging for trio and a twenty four piece string ensemble, his position last year as Musician in Residence for UK’s City of Culture saw him take a crash course in choral harmony as he composed and arranged for a choir.

Touch and Flee is the result of three gifted musicians who think as one, growing together, driving forward. A collection of tunes best savoured in a darkened room, at full volume. They demand attention, but as always, deliver to the listener the most blissful of rides.

Tracklist:
01 – Kneel Down
02 – Winterlude
03 – Sparkling
04 – Gang of One
05 – Couch Slouch
06 – Bryce
07 – Mission
08 – Queen
09 – The Art

All compositions by Neil Cowley. Produced by Dom Monks.
Recorded by Dom Monks and Helen Broadhurst at RAK Studios, London.
Mixed by Dom Monks at Three Crows Studio, Somerset.
Mastered by Tony Cousins at Metropolis Mastering, London.

Musicians:
Neil Cowley – piano
Rex Horan – double bass
Evan Jenkins – drums

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Jul 18

Neil Cowley Trio – The Face Of Mount Molehill (2012)
FLAC (tracks) 24 bit/88,2 kHz | Time – 45:43 minutes | 1,01 GB | Genre: Jazz
Official Digital Download – Source: Naim/HighResolutionAudio | Digital booklet

A dazzling composer and advocate of pure audacious melody, on The Face Of Mount Molehill, Cowley creates thrilling music defined by powerful rip-roaring riffs punctuated by passages of sheer delicacy. Recorded for the first time with a string ensemble, this album of deeply engaging instrumental music conveys passion and emotion that defy the need for words, looks set to launch the music of Neil Cowley Trio yet further into the listening public’s consciousness.

Neil Cowley Trio look, superficially, like a jazz trio, in that they comprise three men making noises on a grand piano (Cowley), a drum kit (Evan Jenkins) and a double bass (newbie recruit Rex Horan). But these noises rarely sound like jazz. Their fourth album, The Face Of Mount Molehill, features power pop songs without words, soundtracks in search of a film, exploratory minimalist miniatures, and the coolest TV theme tunes you’ll ever hear.

‘The title – The Face Of Mount Molehill – is a reference to the way in which I take mundane, everyday things and explode them into something epic and romantic,’ explains Cowley. ‘I am, basically, making musical mountains out of molehills. Little things become gargantuan.’ To assist this process the trio are joined, for the first time, by an eight-piece string section. It’s an idea they first explored in a one-off gig at the ICA for the 2010 London Jazz Festival, which featured a string quartet led by violinist Julian Ferraretto. ‘I’ve always wanted to work with strings,’ says Cowley, who co-wrote the arrangements with Ferraretto. ‘It’s my chance to be big and dramatic, like those amazing John Barry soundtracks that I grew up listening to.’

Alongside producer Dom Monks (engineer on Kings of Leon and Laura Marling, nominated for a Grammy for his work on the Ray LaMontagne album), Cowley is also assisted by Brian Eno sidekick Leo Abrahams, who provides subtle atmospheric soundscapes on several tracks. ‘Leo’s a noise architect rather than a classic guitarist,’ says Cowley. ‘He turned up to the studio with some ridiculous contraptions, like a box of springs, and ended up banging his guitar with a biro. All the weird noises you hear that aren’t made on a piano are made by him.’

Tracklist:
01 – Lament
02 – Rooster Was A Witness
03 – Fable
04 – Meyer
05 – Skies Are Rare
06 – Mini Ha Ha
07 – Slims
08 – Distance By Clockwork
09 – The Face Of Mount Molehill
10 – Hope Machine
11 – La Porte
12 – Sirens Last Look Back

Musicians:
Neil Cowley – Piano
Rex Horan – Double Bass
Evan Jenkins – Drums

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Jul 18

Neil Cowley Trio – Radio Silence (2010)
FLAC (tracks) 24 bit/48 kHz | Time – 48:45 minutes | 616 MB | Genre: Jazz
Official Digital Download – Source: Naim/HighResolutionAudio | Digital booklet

Radio Silence is the sound of a band fully comfortable in their unique sonic skin. And if an album is simply a snapshot of a work in progress, then this is a perfect portrait, capturing Cowley and his co-conspirators in the right place at the right time. This is the record that he has been working towards, documenting the magical empathy of a unit, who, with thousands of hours under their belt have learnt to breathe and listen as one.

Described by Cowley as music for the ‘heart and feet’, Radio Silence shifts effortlessly between moments of poetic grace, rip-roaring riffs and Chaplinesque ditties that reminds us that for all his many influences, Cowley’s music is as British as ‘Test Match Special’, warm beer or a bacon sarnie. After all, it is Cowley who played the elegiac intro to Adele’s London hymn Hometown Glory and likewise, his own music is just as rooted in where he comes from. This is music born in London pubs, on stage at Glastonbury, in suburban side streets and the banter of the tour bus, with results that are as enthralling, heart-warming and gripping as the very best in contemporary music.

Take for instance, the gorgeous title track which invokes the sudden and stark realisation, that someone you love is no longer close to you. It is a deceptively simple but highly effecting tune propelled by the bands intuitive group interplay and conjures moments of sheer beauty. Elsewhere, Gerald is an affectionate portrait of a geeky friend and part-time guitarist who likes to ‘wig-out’ at the weekend, while the epic, blissful Portal expresses a child-like sense of wonder before the cosmos. Vice Skating is a lyrical tour-de-force and the raucous Hug the Greyhound is partly inspired not only by the impossibility of such an act, but is also a wry nod at his own manic energy levels, and it is this restless drive that pushes Neil Cowley Trio towards greatness.

There’s little doubting Neil Cowley’s credentials (he performed a Shostakovich concerto at the Queen Elizabeth Hall aged just 10) but the pianist has faced some gentle criticism from the jazz world for not cutting loose from his stylish, hook-laden, groove-based awnings in recent years. But as elegant and catchy as this third album from the ex-Brand New Heavies keyboardist is, especially on the glassy, contemplative opener Monoface, it’s the playfulness bursting from the piano ace’s fingers that should capture the imagination here – and prove he’s not scared of getting fresh.

Along with some delicious flashes of the minimalist, ambient ideas picked up while training as a classical pianist, baring themselves as silvery piano motifs on the terrific title-track, Vice Skating and glacial album closer Portal, it’s Cowley’s feverish flights of fancy that really stand out. Similar in style to the striking piano play that marked out the highlight of his 2006 album Displaced, the tumbling lunatic Clown Town, and those covers of Revolution No 1 and Revolution No 9 he recorded a few years ago, Cowley is channelling his improv spirit with real refinement.

When his music breaks into a massive grin, like it does on the thumping joyful rocker Gerald, with its furiously repetitive piano riff that snags the mind, and on the almost cartoonish Hug the Greyhound, which sees him hammering wild yet complex piano notes as if he’s racing the lean, galloping groove to the finish line before falling over it in an exhausted heap, this is undeniably compelling stuff. And Cowley plays his improv style another way, too. On Stereoface, his light, percussive melodies and gently freeform ideas dot the soft groove-based funk patter brilliantly.

Tracklist:
01 – Monoface
02 – Radio Silence
03 – Vice Skating
04 – A French Lesson
05 – Gerald
06 – Desert To Rabat
07 – Stereoface
08 – Hug The Greyhound
09 – Portal

Musicians:
Neil Cowley – Piano
Richard Sadler – Bass
Evan Jenkins – Drums

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Jul 17

Mostly Autumn – Passengers (2003) [2.0 & 5.1]
PS3 Rip | ISO | DST 64 2.0 & 5.1 > 1-bit/2.8224 MHz | 60:47 minutes | Scans included | 3,6 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,16 GB
The blend Progressive & Atmospheric Rock with Celtic sounds | Classic Rock Productions’ SACD Reissue 2004

Mostly Autumn is a British band, producing music heavily influenced by classic 1970s rock. The group formed in 1996, and have built their reputation through constant touring, never signing to a major label. The group’s early influences were Genesis, Renaissance and Pink Floyd, and folk music. This is their eagerly anticipated fifth studio album.

Mostly Autumn saw its origins in the mind of Bryan Josh in the early 1990’s but did not come to fruition until 1998. That was the year that he recruited Heather Findlay, Iain Jennings, Liam Davison, Angela Goldthorpe, Jonathan Blackmore and Andy Smith to create the group. They quickly began playing gigs and released For All We Shared as a tribute Josh’s late father Rob. The group’s live show and blend of progressive and atmospheric rock with Celtic sounds began to draw a lot of attention. This attention earned them a contract with G.F.T. Cyclops who issued For All We Shared, and the follow up, The Spirit Of Autumn Past. Their third album, The Last Bright Light came in 2001. Their DVD release The Story So Far was released on Classic Rock Productions. 2002 saw them release Music Inspired by the Lord of the Rings, also on Classic Rock Productions. Passengers was the fifth release.

Tracklist:
01. Caught in a Fold
02. Something in Between
03. Another Life
04. First Thought
05. Pure White Light
06. Simple Ways
07. Bitterness Burnt
08. Distant Train
09. Answer the Question
10. Pass the Clock
11. Passengers

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Jul 17

Passenger – Whispers (2014) [Deluxe Edition]
FLAC (tracks) 24-bit/44,1 kHz | Time – 1:08:48 minutes | 722 MB | Genre: Folk, Pop
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Nettwerk Records

Mike Rosenberg, aka Passenger, has announced that his new album, Whispers. Whispers is the follow up to 2012’s All The Little Lights, which featured the international hit single and 3x Platinum “Let Her Go.”

Recorded in Sydney and co-produced by Chris Vallejo, Whispers is comprised of 11 tracks that tell tales – some real, some imagined – of love, death, growing up and getting old. A master of story telling, Passenger yet again strikes the perfect balance between the heartbreaking and the humorous, all wrapped in beautiful instrumentation, creating a sumptuous, symphonic sound.

“This is easily the most ‘up’ album I’ve ever made,” explains Passenger. “It’s quite cinematic. There are lots of big stories and big ideas. There are also some somber moments about loneliness and death but, hey, it wouldn’t be a Passenger album without those. Mostly though, it’s a really positive album.”

Lead single “Scare Away The Dark,” which is already a fan favorite at live shows, presents listeners with a different side of Passenger than the one they’ve come to know from international smash single “Let Her Go.” It’s a riotous rant about technology taking over our lives, calling on listeners to seize the moment and embrace life. Though he didn’t realize it at the time, title track “Whispers” captures the chaos in Passenger’s head as “Let Her Go” began to snowball. “Heart’s On Fire” is the album’s grandest love song, starting sparse on finger picked guitar and building into a dramatic, passionate, strings-soaked plea to the person you can’t get out of your head.

The Deluxe 2-CD version includes a bonus disc featuring acoustic versions.

Recorded in Sydney, Australia.

Tracklist:
01 – Coins In A Fountain
02 – 27
03 – Heart’s On Fire
04 – Bullets
05 – Golden Leaves
06 – Thunder
07 – Rolling Stone
08 – Start A Fire
09 – Whispers
10 – Riding To New York
11 – Scare Away The Dark
12 – Heart’s On Fire (Acoustic)
13 – Coins In A Fountain (Acoustic)
14 – Riding To New York (Acoustic)
15 – Start A Fire (Acoustic)
16 – Golden Leaves (Acoustic)
17 – Rolling Stone (Acoustic)
18 – Whispers (Acoustic)

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Jul 17

Audio Format: 24bit/48kHz
Released at: 2017-03-08
Label :rhythm zone
Catalog: ANTCD-21644

http://ototoy.jp/_/default/p/71503
http://mora.jp/package/43000002/ANTCD-21644_F/

ふたつが重なり私になれる。
自らを振り返り、自らの道を探し続ける。

全曲新曲のニューアルバムは、歌謡サウンドを踏襲したエモーショナルな側面『W FACE~inside~』とアグレッシブな側面『W FACE~outside~』の2面性を生かした2タイトルを同時リリース。

『W FACE~outside~』ではスリリングで前衛的なダンストラックから、HIP HOP/R&B、ピアノ1本でシンプルに歌い上げるバラードまで、実に多彩なサウンドバリエーションが表現された、これまでの倖田來未を一新するようなアグレッシブな作品に仕上がっています。

収録曲

1 – W FACE – 03:16
2 – Ultraviolet – 03:42
3 – Insane – 03:10
4 – Damn real – 04:16
5 – Heartless – 03:34
6 – Bassline – 03:17
7 – Shhh! – 03:17
8 – Bangerang – 03:23
9 – Wicked Girls – 02:41
10 – Cupcake feat.AKLO – 02:12

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Jul 17

Audio Format: 16bit/44.1kHz
Released at: 2017-03-08
Label :rhythm zone
Catalog: RZCD-86309

http://ototoy.jp/_/default/p/72130
http://mora.jp/package/43000002/ANTCD-21643_F/

ふたつが重なり私になれる。
自らを振り返り、自らの道を探し続ける。

全曲新曲のニューアルバムは、歌謡サウンドを踏襲したエモーショナルな側面『W FACE~inside~』とアグレッシブな側面『W FACE~outside~』の2面性を生かした2タイトルを同時リリース。

『W FACE~inside~』ではエモーショナルなバラードから、軽快なポップソングまで、歌謡ポップサウンドを見事に踏襲した渾身の一作に仕上がっています。

収録曲

1 – BRIDGET SONG – 03:58
2 – Bring It On – 03:08
3 – 喜びのかけら – 04:25
4 – Stand by you – 05:49
5 – 好きでして – 03:54
6 – 君想い – 05:17
7 – On my way – 04:41
8 – What’s Up – 03:21
9 – Promise you – 04:39
10 – My fun – 04:01

Continue reading »

Jul 17

alt-J – An Awesome Wave (2012/2013)
FLAC (tracks) 24 bit/96 kHz  | Time – 43:38 minutes | 862 MB | Genre: Alternative
Studio Masters, Official Digital Download – Source: HDTracks  | Digital Booklet | © Canvasback/ATL

An Awesome Wave is Alt-J’s award-winning debut. This thrilling masterpiece effortlessly blends rock with experimental pop, redefining the genre of art rock. Packed with memorable choruses, the recording is included on Guardian’s “Best Albums of 2012.” This rock quartet has been compared to artists including Mumford & Sons and Fleet Foxes. Standouts include “Fitzpleasure,” “Tessellate” and more.

Named after the Mac command also used as a mathematical equation to show change, formed while studying fine art at university, and prone to throwing in the odd geometric reference within their lyrics, there are signs that Cambridge-based quartet Alt-J might be a little bit too clever for their own good. Produced by Charlie Andrew (the Laurel Collective), their debut album, An Awesome Wave, is occasionally guilty of pretentiousness, particularly the irritating a cappella vocal warmup of the interlude “(The Ripe & Ruin).” But for the most part, its 13 tracks do for nu-folk what Everything Everything’s equally ambitious debut did for indie rock, breathing new life into the genre with an intriguing but accessible series of art rock twists and turns. Indeed, other than frontman Joe Newman’s impassioned – if occasionally bordering on parody – vocal style, there’s little here in common with the tweeness of Mumford & Sons. “Tessellate” combines the glitchy electronica of Thom Yorke’s solo career with the wistful wintry harmonies of Fleet Foxes; “Fitzpleasure” fizzes along with its dubstep-lite beats and acidic basslines before it’s interrupted, first by a burst of jangly post-rock and second by the kind of shimmering guitar twangs you’d expect from a Tarantino soundtrack; while “Taro” somehow melds together the unlikely bedfellows of Americana and bhangra to produce a fittingly oddball but enthralling finale. It’s to Andrew’s credit that these eclectic arrays of sound are woven together in a manner so effortlessly that the results never feel forced or contrived. There are a few more straightforward moments such as “Matilda,” a gentle acoustic folk ode to Natalie Portman’s troubled character in Léon, and the sparse, haunting “Ms.” But Alt-J’s wave is far more awesome when it’s at its most schizophrenic.

Tracklist:
01 – Intro
02 – Interlude 1
03 – Tessellate
04 – Breezeblocks
05 – Interlude 2
06 – Something Good
07 – Dissolve Me
08 – Matilda
09 – Ms
10 – Fitzpleasure
11 – Interlude 3
12 – Bloodflood
13 – Taro
14 – Hand-Made

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Jul 17

alt-J – This Is All Yours (2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 55:34 minutes | 572 MB | Genre: Indie
Official Digital Download – Source: Q9buz | Front cover | © Infectious

Alt-J is a Leeds-based group with a signature blend of layered, folk-inflected dub-pop and soaring alternative rock. Alt-J follow up their debut album An Awesome Wave with This Is All Yours. The debut sold over a million copies worldwide and was the 2012 Mercury Prize winner, and the band found themselves at the outset of making a follow up in a new position of recording an album that was actually anticipated, and having gone from a four piece to a trio. The album was recorded in Spring 2014 with the same producer / engineer (Charlie Andrew).

The 2012 Mercury Prize winners begin their sophomore outing with the subversively titled “Intro,” a four-and-a-half-minute highlight reel of what’s to come that pairs the monastic chanting that prefaced An Awesome Wave’s first single, “Fitzpleasure,” with a pastiche of new age and worldbeat-blasted ambient pop that suggests Mogwai by way of Peter Gabriel’s Real World studios circa 1990 — it’s both planetarium laser light show and art installation ready. The muted yet equally heady “Arrival in Nara,” all fingerpicked electric guitar and diffusive synths, and its more muscular yet no less monkish second half, “Nara,” do little to rein in the holistic atmosphere that’s so decisively laid out in the remarkably potent This Is All Yours’ opening moments, which makes the arrival of the punchy, carnally minded “Every Other Freckle” and the meaty, Anglo-Motown thump of “Left Hand Free” so thrilling, but hardly unexpected. After all, this is a band that proved with its debut that it can go from icy, distant, and often excruciatingly beautiful to downright feral at the crack of a snare drum (or pots and pans, as the group’s humble, dorm room beginnings often required), and This Is All Yours does little to tarnish their reputation as choirboys with dark passengers. That penchant for edgy refinement, along with frontman Joe Newman’s elastic voice, remains the band’s most effective weapon, but it’s hard to pinpoint where and when that magic occurs, as it’s so effortlessly woven into the group’s sound. It’s somewhere in between the autumnal and apocalyptic, Miley Cyrus-sampling “Hunger of the Pine,” the bucolic, recorder-led “Garden of England,” and the oddly soulful, midnight-black posturing of “The Gospel of John Hurt,” and it gets under your skin, where it somehow manages to both hurt and heal. ~ James Christopher Monger

Tracklist:
01 – Intro
02 – Arrival in Nara
03 – Nara
04 – Every Other Freckle
05 – Left Hand Free (Extended Version)
06 – Garden Of England – Interlude
07 – Choice Kingdom
08 – Hunger Of The Pine
09 – Warm Foothills
10 – The Gospel of John Hurt
11 – Pusher
12 – Bloodflood pt.II
13 – Leaving Nara
14 – Lovely Day (Bonus Track)

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Jul 17

alt-J – Relaxer (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 39:03 minutes | 422 MB | Genre: Alternative
Studio Masters, Official Digital Download – Source: Q0buz  | Front Cover | © Infectious

Relaxer (stylized as RELAXER) is the third studio album by English indie rock band alt-J. The album follow up to the band’s Grammy nominated album “This Is All Your”s, and finds the band working with producer Charlie Andrew for the third time. The cover art features a screenshot from the 1998 PlayStation video game, LSD.

A heady and sometimes capricious piece of work that vacillates between pastoral folk, classical crossover, proto-punk, and progressive rock, the Mercury Prize-winning trio’s third LP is never clear about its overall intentions. The same could be said about Alt-J’s two previous albums as well, but Relaxer is a thornier beast than either of them, carefully concealing its myriad barbs beneath bucolic washes of meticulously forged comeliness. Bookended by what are for all intents and purposes a pair of augmented English folk ballads, the first (“3WW”) a patient, swoon-worthy pagan love song, and the second (“Pleader”) an impossibly lush, choir-led anthem/ballad inspired by mining in 19th century Wales, Relaxer is aptly named, as between those two cuts lies a swath of idyllic sonic farmland that yields fruits both honeyed and acrid. Only the nervy “In Cold Blood” and the cringe-worthy, Velvet Underground-aping misfire “Hit Me Like That Snare” hint at the flashy, decisive indie rock posturing of past pleasures like “Left Hand Free” and “Dissolve Me.” As per usual, Alt-J’s lyrics remain elliptical, with frontman Joe Newman espousing a narrative persona that’s both arthouse Dickensian villain and boarding school poet – that lines like “Well that smell of sex, good like burning wood” and “I just want to love you in my own language” manage to elucidate their contrasting amorous perspectives within the same song is notable. Clocking in at just under 40 minutes, the album’s dizzying stylistic shifts and offbeat arrangements are rendered refreshingly palatable, and even when the band’s artistic hubris is drawn front and center, as it is on the aforementioned “Hit Me Like That Snare” and a spectral, almost completely rewritten version of “House of the Rising Sun,” there’s usually enough craftsmanship on hand to offset the overall air of importance.

Tracklist:
01 – 3WW
02 – In Cold Blood
03 – House of the Rising Sun
04 – Hit Me Like That Snare
05 – Deadcrush
06 – Adeline
07 – Last Year
08 – Pleader

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