Jul 22

Richard Bona – Bonafied (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 52:36 minutes | 1002 MB | Genre: Jazz
Official Digital Download – Source: Qobuz | Digital booklet | © Universal Music France

Jazz bassist Richard Bona was born and raised in the West African nation of Cameroon, going on to session dates with Joe Zawinul, Regina Carter, and Bob James as well as a two-year stint as musical director for the great Harry Belafonte. He made his debut as a headliner in 1999 with Scenes from My Life, and two years later Reverence came out.

01 – Dunia E
02 – Mut’Esukudu
03 – Akwappella
04 – Janjo La Maya
05 – Mulema
06 – Uprising Of Kindness
07 – Tumba La Nyama
08 – Diba La Bobe
09 – La Fille D’A Côté
10 – Socopao
11 – On The 4th Of July

Produced by Richard Bona.

Richard Bona – bass, vocals, guitars, percussion, balafon
Dave Eggar – cello
Etienne Stadwijk – acoustic piano
Michael Rodriguez – trumpet
Osmany Parades – acoustic piano
Obed Calvaire – drums
Luisito Quintero – percussion
Eriko Sato – violin
Joyce Hamann – violin
Louise Schulman – viola
David Eggar – cello
Gil Goldstein – string arrangement
Vincent Perrani – accordion
Camille Dalmais – vocals
Sylvain Luc – guitars

Please note: Track “9” presented in 24bit/44kHz

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Jul 22

Michael Denhoff – Credo
Chor der Katholischen Hochschule für Kirchemusik St. Gregorius Aachen / Steffen Schreyer
SACD ISO (2.0/MCH): 3,91 GB | 24B/88,2kHz Stereo FLAC: 995 MB | Full Artwork | 3% Recovery Info
Label/Cat#: Cybele # SACD 860.301 | Country/Year: Germany 2004
Genre: Classical, Sacred | Style: Choral, Vocal, 21st Century

Michael Denhoff (born 25 April 1955 in Ahaus) is a German composer and cellist.

Denhoff has lived and worked in Bonn since 1982. He studied at the Musikhochschule in Cologne, where his teachers included Günter Bialas and Hans Werner Henze (composition), Siegfried Palm and Erling Blöndal Bengtsson (cello) and the Amadeus Quartet (chamber music). As a composer and chamber musician, he occupied various teaching posts, including a lectureship in composition at the University of Mainz (1984-85) and a guest professorship at the National Conservatory of Hanoi (1997-99). From 1985 to 1992 he also conducted the Akademische Orchester Bonn, which he founded. As a cellist, he formed the Denhoff Piano Trio with his brother Johannes (violin) and the pianist Richard Braun. Since 1992, he has been a member of the Ludwig Quartet of Bonn, and he also works closely with the pianist Birgitta Wollenweber. As a composer, he has won several prizes and distinctions, including the Bernd Alois Zimmermann Prize (1986) and the Annette von Droste-Hülshoff Prize (1989).

Denhoff’s music shows the influence of poetry and the visual arts. Several of his orchestral and chamber works have been inspired by lyrics and paintings. Thus, there are instrumental works and cycles based on pictures by Marc Chagall, Paul Klee, Wassily Kandinsky, Albrecht Dürer and especially Fransisco Goya (El sueño de la razon produce monstruos, 1982; Desastres de la guerra, 1983; Los disparates, 1988). The literary figures who have most left their mark on his music are Ranier Maria Rilke, Paul Celan, Samuel Beckett and Stéphane Mallarmé. Other works characteristic of his compositional thought include cycles in the form of ‘musical diaries’ (Klangtagebuch, 1984; Hebdomadaire, 1990). The most significant of these works is the piano quintet Hauptweg und Nebenwege (1998), which lasts nearly three hours. This piece gathers together the essential aspects of his music, their relationship to musical tradition, and also the influences of literature and the visual arts.

Denhoff’s compositional vocabulary shows evidence of a sensitive feeling for harmony and form, whose roots are to be found in composers such as Bernd Alois Zimmermann, Olivier Messiaen, Morton Feldman and György Kurtág.

CDs featuring Denhoff’s works are available on the WERGO, Col Legno and Cybele labels. wikipedia


1 In Unum Deum – Credo op. 93 für Sopran, Bariton, Chor, Orgel und kleines Orch… 4:32
2 – II. In Unum Deum 2:58
3 – III. Patrem Omnipotentem 0:55
4 – IV. Credo 2 3:01
5 – V. Et In Unum Dominum 2:26
6 – VI. Et Incarnatus Est 1:03
7 – VII. Tenebrae 2:47
8 – VIII. Crucifixus 4:07
9 – IX. Et Resurrexit 2:32
10 – X. Das leere Grab 2:06
11 – XI. Et In Spiritum Sanctum 2:38
12 – XII. Et Exspecto 5:58

13 Aus tiefer Not – Anrufung für Orgel op. 41 12:49

14 Credo op. 93a für gemischten Chor – I. Credo In Unum Deum 1:27
15 – II. Et In Unum Dominum 1:49
16 – III. Et Incarnatus Est 0:51
17 – IV. Crucifixus 2:19
18 – V. Et Resurrexit 2:30
19 – VI. Et In Spiritum Sanctum 1:31
20 – VII. Et In Unam Sanctam Catholicam 1:41
21 – VIII. Et Exspecto 3:36


Irene Kurka (soprano)
Alban Lenzen Alban (baritone)
Michael Hoppe, Johannes Trümpler (organ)
Chor der Katholischen Hochschule für Kirchenmusik St. Gregorius Aachen
Orchester der Kölner Kammermusiker
Steffen Schreyer (conductor)

1-12: Konzertmitschnitt der Uraufführung (live recording of the first performance) vom 30.05.2003, Berlin St. Matthias (Ökumenischer Kirchentag)

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Jul 22

Karina Gauvin, Alexander Weimann, Arion Baroque Orchestra – Prima Donna (2012)
FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.26 GB
Genre: Classical | Official Digital Download – Source: highresaudio

Canadian superstar soprano Karina Gauvin pays tribute to baroque diva Anna Maria Strada del Pò, singing rarities by Vinci, Vivaldi and some of the greatest Handel arie di bravura. Like Strada del Pò in her prime, Miss Gauvin sings this repertoire with powerful expression and brilliant technique, in particular, the trills for which Strada del Pò was renowned. More than thirteen opera roles were created by Handel for Strada del Pò (including Sosarme, Orlando, and Alcina). Strada del Pò’s talent and style may have influenced the composer’s work as much as he contributed to the vocal and dramatic development of the prima donna in the first decades of the 18th century.

Karina Gauvin has impressed audiences and critics the world over with her luscious timbre, profound musicality and wide vocal range. The Globe and Mail calls her “one of the dream sopranos of our time.” The Sunday Times in London also wrote: “Her glinting soprano, bright-edged yet deliciously rounded and sensual, is used with rare understanding for character… ”

Arion Baroque Orchestra, founded in 1981, is Quebec’s only early music orchestra performing on period instruments and is one of the most renowned early music ensembles in North America. Conductor Alexander Weimann has traveled the world as member of Tragicomedia, as guest of Freiburger Barockorchester, Gesualdo Consort, Tafelmusik, and as music director of Les Voix Baroques and Le Nouvel Opéra. As guest conductor, he has led the Portland Baroque Orchestra, Les Violons du Roy and the symphony orchestras in Halifax and Victoria. He is currently music director of the Pacific Baroque Orchestra in Victoria (B.C.)

Composer: George Frideric Handel, Leonardo Vinci, Antonio Vivaldi
Performer: Karina Gauvin
Conductor: Alexander Weimann
Orchestra/Ensemble: Arion Baroque Orchestra


By now Canadian soprano Karina Gauvin has appeared on a couple of dozen recordings and she always impresses. Aside from some Mozart, Britten, Barber, and another composer or two, her repertoire has been solidly based in the Baroque. We’ve come a long way from the HIP sounds of Emma Kirkby and Judith Nelson—not that I’m criticizing or denigrating them—and Gauvin’s rich sound has nothing of the boy treble in it; it is a full lyric soprano. It isn’t merely that she sings with vibrato—she simply has vibrato that she will occasionally eschew for effect; it is her echt womanliness that comes across so vividly.

Except for Meleagro in Handel’s Atalanta, a male role written for soprano castrato, all of the arias on this CD are women’s roles. And “Care selve” from that opera has been sung by everyone, from Leontyne Price to Pavarotti, with Kiri Te Kanawa in between. This CD pays homage to Anna Maria Strada del Po, who sang works by Vivaldi and Vinci before moving to London and performing in no less than 24 of Handel’s operas beginning in 1729 and until 1737. (The composer was relieved not to have the “dueling divas” Cuzzoni and Bordoni to referee anymore.)

Strada was one of three singers for whom Handel wrote a high C. Her dramatic range must have been great as well: he created Alcina for her. On this CD, Gauvin sings three of Alcina’s arias: the wandering, picturesque “Ombre pallide”; the sad, introspective “Si son quella”; and the emotionally complicated, self-pitying, angry “Ah! mio cor”. For these alone, with all their mood swings and varying vocal styles and dynamic ranges, this CD is worth buying.

“Scherza il mar” from Lotario dazzles to start the program, and Elmira’s “Dite pace” (from Sosarme), with a helpless character questioning the heavens, is marvelous as well. In fact, each interpretation here takes on the character of the person and situation, a feat even more remarkable when you consider that Gauvin’s voice is not a complex instrument: it is silky-smooth and luscious. Her innate musicality and perfect pitch create the thrills. “Care selve”, correctly accompanied by continuo alone, is a gorgeous, long-lined poem. And what a trill!

There are three well-spaced and brief orchestral interludes included, with the Adagio from Handel’s Concerto Grosso Op. 3 No. 1 being the most stunning. And throughout, the Arion Orchestre Baroque, playing on period instruments under Alexander Weidman, is never less than ideal. This is a stunner.


George Frideric Handel (1685-1759): Lotario, HWV 26
1. Lotario, HWV 26, Act I – Aria – Scherza in mar la… 05:23
Orlando, HWV 31
2. Act II – Non potra dirmi ingrata 03:55
3. Act II – Verdi piante, erbette liete 06:35
Leonardo Vinci (1696-1730): Astianatte
4. Astianatte – Tortorella se rimira 04:39
George Frideric Handel: Concerto Grosso in B flat major, Op. 3, No….
5. Concerto Grosso in B flat major, Op. 3, No. 1, HWV 312 -… 04:05
George Frideric Handel: Sosarme, re di Media, HWV 30
6. Sosarme, re di Media, HWV 30, Act I – Aria – Dite pace, e… 05:27
Antonio Vivaldi (1678-1741): La verita in cimento, RV 739
7. La verita in cimento, RV 739, Act II – Aria – Addio caro…. 03:51
George Frideric Handel: Flavio, re di Longobardi, HWV 16
8. Flavio, re di Longobardi, HWV 16, Act III – Da te parto -… 05:13
George Frideric Handel: Lotario, HWV 26
9. Lotario, HWV 26 – Overture 04:07
George Frideric Handel: Alcina, HWV 34
10. Act II – Aria – Ah! Ruggiero crudel 02:33
11. Act II – Aria – Ombre pallide, lo so, mi udite 06:09
12. Act I – Si, son quella! 07:13
George Frideric Handel: Concerto Grosso in C minor, Op. 6, No. 8,…
13. Concerto Grosso in C minor, Op. 6, No. 8, HWV 326 – II…. 01:25
Alcina, HWV 34
14. Alcina, HWV 34 – Act III – Aria – Ah! mio cor 10:31
George Frideric Handel: Atalanta, HWV 35
15. Atalanta, HWV 35, Act I – Arioso – Care selve, ombre beate 03:32

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Jul 21

Leopold Stokowski, BPO – Stravinsky‎: Firebird & Petrushka (1958/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 37:36 minutes | 679 MB | Genre: Classical
Studio Master, Official Digital Download – Source: HighDefTapeTransfers.com | Artwork: Digital Booklet

01 – Suite From “The Firebird”
02 – Suite From “Petrushka”

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Jul 21

Louise Rogers – Black Coffee (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 58:21 minutes | 1,2 GB | Genre: Jazz
Official Digital Download – Source: HDTracks.com | Digital Booklet | © Chesky Records

Jazz vocalist Louise Rogers has been gradually winning over converts with her beautiful burnished tone, clear diction, flawless intonation and impeccable musicianship. Her natural, unforced delivery harkens back to such pure singers as Peggy Lee, Ella Fitzgerald, Chris Connor, and Doris Day.

BLACK COFFEE is her 5th recording, and finds Rogers taking a more relaxed and restrained approach over 12 songs, including standards “Ain’t Misbehavin’” and “Gentle Rain” and a moving take on “Alice In Wonderland” as well pop numbers, such as Peggy Lee’s 1956 hit “Black Coffee”.

01 – Comes Love
02 – Alice in Wonderland
03 – Easy to Love
04 – Sentimental Journey
05 – Lazy Afternoon
06 – Pennies from Heaven
07 – Alright Okay You Win
08 – Black Coffee
09 – Ain’t Misbehavin’
10 – Happiness Is a Thing Called Joe
11 – Skylark
12 – When the Sun Comes Out
13 – Be My Baby
14 – Gentle Rain

Main Artists Louise Rogers
Billy Drummond – drums
Paul Meyers – guitar
Rick Strong – bass

Producer David Chesky
Executive Producer Norman Chesky
Engineer Rick Eckerle, Nicholas Prout
Assistant Engineer Alex Sterling

This album was made with the purest audio path, using the very best microphones, mic preamps, analog-to-digital converters, recorders, and cables with careful attention to detail to produce the most transparent and natural sound available today.

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Jul 21

Lang Lang – Liszt: My Piano Hero (2011)
FLAC (tracks) 24-bit/96 kHz | Time – 01:05:30 minutes | 0,97 GB | Genre: Classical
Studio Master, Official Digital Download  | Source: Qobuz | @ Sony Classical
Recorded: April 23-28, 2011, Teldex Studio, Berlin, Germany (#1-10); June 4 & 5, 2011, Großer Saal, Musikverein, Vienna, Austria (#11-12)

To celebrate the 200th anniversary of Franz Liszt’s birth, virtuoso pianist Lang Lang has selected some of the composer’s most characteristic pieces for his 2011 Sony release, Liszt: My Piano Hero. Prominent on this album is the Piano Concerto No. 1 in E flat major, which features Lang Lang in a high-energy performance with Valery Gergiev and the Vienna Philharmonic. Without a doubt, most of Lang Lang’s fans will savor this Romantic showpiece, and for technical brilliance and drama, the performance doesn’t disappoint. He is especially lively and vivid in this work, and his interactions with the orchestra seem spontaneous and playful, as one might well imagine Liszt would have been. But Lang Lang seems more introspective and personally involved with the solo keyboard pieces that make up the greater part of the album. Here also is the flashy side of Liszt, but there is a greater emphasis on the poetic and rhapsodic, so Lang Lang indulges in reflective pieces as much as the flashy encores. Highlights include La Campanella, the Grand Galop chromatique, Liebestraum No. 3, the Hungarian Rhapsody No. 6, and the arrangement of Schubert’s Ave Maria. –AllMusic Review by Blair Sanderson

Franz Liszt (1811 – 1886)
1 Romance “O pourquoi donc” in E Minor, S. 169 3:05
2 La campanella in G-Sharp Minor from Grandes études de Paganini, S. 141/3 4:47
3 Consolation No. 3 in D-Flat Major, S. 172 4:19
4 Grand Galop chromatique in E-Flat Major, S. 219 3:58
5 Liebestraum No. 3 in A-Flat Major, S. 541/3 4:53
6 Hungarian Rhapsody No. 6 in D-Flat Major, S. 244/6 7:19
7 Trois études de concert in D-Flat Major, S. 144/3: Un sospiro 5:26
8 Rakoczy March from Hungarian Rhapsody No. 15 in A Minor, S. 244/15 (Horowitz version) 5:43
9 Ave Maria, S. 558 6:31
Piano Concerto No. 1 in E-Flat Major, S 124
10 I. Allegro maestoso 5:47
11 II. Quasi adagio – Allegretto vivace – Allegro animato 9:33
12 III. Allegro marziale animato 4:09

Lang Lang, piano
Wiener Philharmoniker (#10-12)
Valery Gergiev, conductor (#10-12)

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Jul 21

Franz Liszt – Transcendental Studies, S139 Nos. 1-12 – Dinara Klinton (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:07:14 minutes | 992 MB | Genre: Classical
Studio Master, Official Digital Download – Source: ProStudioMasters | Digital Booklet | © Genuin Classics
Recorded: Mendelssohn-Saal, Gewandhaus Leipzig, Germany, June 2–4, 201

What if you did not know anything about this artist, who has devoted her second CD to Franz Liszt’s unbelievable “Études d’exécution transcendante”? Would that make any difference when you hear this new GENUIN CD? Young pianist Dinara Klinton’s playing sweeps over us like a force of nature, amazes her listeners and inspires them with enthusiasm. It seems that jury members from over a dozen international competitions have felt the same way, otherwise Dinara Klinton would not have won them all… Go ahead and hear for yourself – but make sure you hold onto your seat!

Sailing the spring tide of Romanticism, defining modern piano technique, a journey from childhood to manhood, the death of Weber to the 1851 Great Exhibition, “a part of his musical autobiography in public” (Alan Walker), Liszt’s Transcendental Studies, Busoni maintained, should be “put at the head of his pianoforte compositions, [placing him] in the rank of the greatest pianoforte composers since Beethoven, Chopin, Schumann, Alkan, Brahms.” In their pages are to be encountered “the Mephistophelian and the Religious: he who acknowledges God does not value the Devil less – the sentimental and the inspired” characteristic of Liszt’s art as a whole. Via a circle of falling fifths, enshrining the monumental, the Herculean, they essay mechanicals, musicality, emotion, caprice, symphonism, epithets … the programmatic, the suggestive, the impressionistic … fantasy, rhapsody, poem, dream. There’s nothing like them in the repertory – the Matterhorn of an era.
Dinara Klinton, from Kharkiv in the Ukraine – 2014-15 Benjamin Britten Piano Fellow at the Royal College of Music – was mentored by Vladimir Krainev and studied in Moscow with Valery Pyasetsky (Central Music School) and Eliso Virsaladze (Conservatoire). Dina Parakhina, a Malinin disciple, has been overseeing her postgraduate and competition schedule in London. Grounded in the Blumenfeld / Godowsky / Neuhaus tradition that produced Horowitz, Barere, Yudina, Gilels and Richter, she’s an artist of refined sensibility and high-pressure technique. Her passions surge and swirl, consuming the listener. She can sing a line and hold a paragraph with majesty, her ‘thrown’ melodic projection almost aria-like. Making beautiful sounds, voicing chords with clarity, developing tone, is a priority. Her bass notes tread the elemental. Her climaxes, reaching quickening, explosive release from nowhere, are on an oceanic scale. Knife-edge drama, bold images, matter to her.
“Learning the complete Transcendental Studies”, says Klinton, “had been my child’s dream, performing them – my youth’s aim, recording them – my senior urge. Liszt explores the infinite variety of human life via feelings of joy, sorrow, love, anger, dignity and defeat.” Entering a fiercely competitive arena, her album, classily produced in Leipzig’s Mendelssohn-Saal (an airy acoustic), lets no one down. The pianism is intensely drilled. The emotional voltage is super-charged. The instrument (a well-disposed Steinway) roars and thunders, caresses and yields. Octaves cascade down the heavens like streaked lighting; cadenzas open out gently – kisses on the wind; chandeliers of sound glint icily, fierily; cadences pause, move on, and find old-world rest.
Judge this project on its own terms, forget comparisons. That some numbers are slower than the great gramophone trail-blazers, others quicker, is of no consequence. Klinton has determined ideas, she stands by them, and she creates an organic landscape which she wanders and rules over with easy grace and authentically grand rhetoric.
The slow numbers become magnificent, fabulous tone-poems of infinitely terraced longing: ‘Ricordanza’ (“faded love letters” – Busoni); ‘Harmonies du soir’ (sounds and perfumes in the air, a tormented heart, a sad beautiful sky spread like a vast altar before the drowning sun). For Klinton ‘Feux follets’ – will-o’-the-wisps, malignant impish spirits leading travellers to their doom – proves a brilliant, purling tour-de-force, expressively articulated rather than merely note-spun, its phrasing, breathing and elegance of touch more than once questioning Richter (Bolet and Berezovsky too).
Among the more headstrong canvases ‘Mazeppa’ is tireless and epic, swathes of muscular D-minor strength offset by veils of humming vibrato assai. If its gear changes seem odd, editorially generated even, the score confirms an admirable fidelity to the page. Dinara Klinton is a player to watch. —Reviewed by Ateş Orga, Classical Source

Franz Liszt (1811–1886)
Études d’exécution transcendante, S. 139
1 No. 1 in C Major, “Preludio” 01:02
2 No. 2 in A Minor, “Fusees” 02:25
3 No. 3 in F Major, “Paysage” 05:07
4 No. 4 in D Minor, “Mazeppa” 07:43
5 No. 5 in B-Flat Major, “Feux follets” 03:40
6 No. 6 in G Minor, “Vision” 05:33
7 No. 7 in E-Flat Major, “Eroica” 04:49
8 No. 8 in C Minor, “Wilde Jagd” 05:40
9 No. 9 in A-Flat Major, “Ricordanza” 11:11
10 No. 10 in F Minor, “Appassionata” 04:57
11 No. 11 in D-Flat Major, “Harmonies du soir” 09:25
12 No. 12 in B Minor, “Chasse-neige” 05:42

Dinara Klinton, piano

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Jul 21

LYNX – Flute (2007) [2.0 & 5.1]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 68:29 minutes | Covers included | 3,44 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Covers included | 1,17 GB


Tokyo National University of Fine Arts and Music born of four women flute ensemble by, LYNX album. Ono or restricted in charge of producing and recording. Smetana “Moldau symphonic poem from” My Fatherland “,” Dvorak “Largo Symphony No. 9” From the New World “,” Ravel “Bolero”, Beethoven “Symphony No. 5” destiny “” and others, recorded a total of nine songs. – from amazon

スーパー・フルート・アンサンブル! 誰もが知っているクラシックの名曲を選曲! ピッコロからパスフルートまで5オクターブに渡る音を駆使し、フルート4本とは思えない迫力ある響き、10年かけて作られた緻密で息のあったアンサンブル。まるで指揮者がいるかのような、一体感のある演奏は圧巻!

Super Flute Ensemble! Everyone is making full use of sound over a 5 octave song selection masterpieces of classic! From piccolo to pass flute know, powerful sound that does not think four flute, made over a period of ’10 dense and had ensemble of breath. Almost as if the conductor is present, playing with a sense of unity is the best part! – cdjapan.co.jp

01. J.S.Bach: Ouverture – Orchestral Suites No.2 h moll BWV1067
02. J.S.Bach: Rondeau – Orchestral Suites No.2 h moll BWV1067
03. J.S.Bach: Sarabande – Orchestral Suites No.2 h moll BWV1067
04. J.S.Bach: Bourree – Orchestral Suites No.2 h moll BWV1067
05. J.S.Bach: Polonaise – Orchestral Suites No.2 h moll BWV1067
06. J.S.Bach: Menuet – Orchestral Suites No.2 h moll BWV1067
07. J.S.Bach: Badinerie – Orchestral Suites No.2 h moll BWV1067
08. Mozart: Symphony No.25 g moll K.183 – I Allegro con brio
09. Smetana: The Moldau from “My Fatherland”
10. Wagner: Tannhäuser – Overture
11. Tchaikovsky : Symphony No.6 – III Allegro molto Vivace
12. Dvorak: Symphony No.9 – II Largo
13. Beethoven: Symphony No.5 – I Allegro con brio
14. Ravel: Bolero
15. J.S.Bach: Toccata and Fugue d-moll BWV565

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Jul 21

Lady Gaga – Joanne (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 47:23 minutes | 576 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: 7digital | Digital Booklet | © Interscope Records

On her most personal LP to date, Gaga aims for authenticity. Named after the superstar’s late aunt, Joanne pivots away from the conceptual disco of 2013’s ARTPOP for a set of lived-in folk (the gorgeous title cut), wild-eyed rock (“Diamond Heart”), and windswept country (“Grigio Girls”). A vibrant list of collaborators includes Florence Welch, Mark Ronson, Beck, Josh Homme, and Father John Misty mastermind Josh Tillman.


01. Diamond Heart (3:30)
02. A-YO (3:28)
03. Joanne (3:17)
04. John Wayne (2:54)
05. Dancin’ In Circles (3:27)
06. Perfect Illusion (3:02)
07. Million Reasons (3:25)
08. Sinner’s Prayer (3:43)
09. Come To Mama (4:15)
10. Hey Girl (Featuring Florence Welch) (4:15)
11. Angel Down (3:49)
12. Grigio Girls (3:00)
13. Just Another Day (2:58)
14. Angel Down (Work Tape) (2:20)

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Jul 21

Dirty Beaches – Stateless (2014)
FLAC (tracks) 24-bit/48 kHz | Time – 41:10 minutes | 390 MB | Genre: Electronic
Studio Master, Official Digital Download – Source: Bandcamp | Artwork: Front cover

Alex Zhang Hungtai, known by his stage name Dirty Beaches, is a Taiwanese-born Canadian musician based in Montreal, Quebec.Dirty Beaches began as a one-man band, sometimes employing sampling, inspired by Zhang’s longtime love of hip hop. In addition to his own years moving between countries and on the road touring, films are one of Zhang’s influences, particularly those by Wong Kar-wai.

All seasons are cyclical, like real life shit. We adapt and venture through each phase with intentions of engagement, embracing mistakes and chances that eventually become the foundation of identities and roles we take on in life. All pain is temporary, as in joy, anger, doubt and all human emotions. Nothing is forever. Just a constant cyclical randomization processed in patterns and algorithms. We can’t predict life, but we can try to brace ourselves for the ever changing tides of time. Some dreams, are worth breaking your limbs for.

01 – Displaced
02 – Stateless
03 – Pacific Ocean
04 – Time Washes Away Everything

All music written by Alex Zhang Hungtai.
Except on track 1 and 4 written with Vittorio Demarin.
Written and recorded in Treviso, Italy and Addac Studio in Lisbon, Portugal. Jan-May 2014.
Mixed by Dean Hurley in Los Angeles. Mastered by Harris Newman at Grey Market Mastering, Montreal.

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