Rachel Podger – Mozart: Sinfonia Concertante; Haydn: Violin Concerti 1 & 4 (2009)
FLAC (tracks) 24 bit/96 kHz | Time – 68:06 minutes | 1,47 GB
Official Digital Download – Source: ChannelClassics.com | Digital booklet

Violinist Rachel Podger has secured a name for herself as a master interpreter and performer of all things Baroque and early Classical. Her recent recordings of the complete Mozart violin sonatas thrust her career forward from her already prestigious beginnings as a member of the Palladian Ensemble and Florilegium. This Channel Classics album finds Podger in front of the innovative Orchestra of the Age of Enlightenment performing two Haydn concertos written during his time in the employ of the Esterházy family, as well as the instantly recognizable Mozart Sinfonia Concertante. Written for Luigi Tomasini, the concertmaster of the Esterházy Court Chapel, the two concertos are filled with dazzling pyrotechnic displays and soulful, sustained melodies, characteristics that play to Podger’s strengths. Any hints of stuffiness or rigidity conjured up when thinking of period instrument performances are at once dispelled with Podger’s vitally enthusiastic but well-controlled approach to her instrument. The Orchestra of the Age of Enlightenment likewise focuses on spontaneity, vibrancy, and beauty of tone. Joined by violist Pavlo Beznosiuk, the Mozart Sinfonia Concertante is treated with similar energy and excitement. A change of instrument, bow, and strings results in a warmer, more hushed tone from Podger that provides a nice contrast to the brightness heard in the Haydn. Keen listeners will also notice that the viola is tuned a half-step higher than usual, which was indicated in Mozart’s original score. The result here is a brighter, more clearly projecting instrument.

Tracklist:
01 – Haydn: Violin Concerto in G Major: I. Allegro moderato
02 – Haydn: Violin Concerto in G Major: II. Adagio
03 – Haydn: Violin Concerto in G Major: III. Allegro
04 – Mozart: Sinfonia Concertante KV 364: I. Allegro maestoso
05 – Mozart: Sinfonia Concertante KV 364: II. Andante
06 – Mozart: Sinfonia Concertante KV 364: III. Presto
07 – Haydn: Violin Concerto in C major: I. Allegro moderato
08 – Haydn: Violin Concerto in C major: II. Adagio
09 – Haydn: Violin Concerto in C major: III. Presto

Rachel Podger – viola
Orchestra of the Age of Enlightenment – conducted by Pavlo Beznosiuk.

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Richard Bona – Bonafied (2013)
FLAC (tracks) 24-bit/96 kHz | Time – 52:36 minutes | 1002 MB
Official Digital Download – Source: Qobuz.com | Digital booklet

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.

Tracklist:
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.

Musicians:
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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Collegium Musicum 90, conducted by Simon Standage – Tomaso Albioni:
Homage To A Spanish Grandee: Concerti a cinque, Op. 10 (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 69:11 minutes | 1,37 GB
Official Digital Download – Source: The Classicalshop.net | Digital booklet

Simon Standage performs regularly with Collegium Musicum 90 and other groups and is a very well respected performer in the early-music field. In this latest recording of works by Albinoni, Simon Standage directs Collegium Musicum 90 showcasing the rarely performed and recorded Op. 10 Concertos. Most of the Op.10 concertos have not been published in a modern edition, and the set has been recorded only twice before.

The very knowledge that Tomaso Albinoni had published an “Opus 10″ managed to elude scholars until the 1960s and the music itself still longer; however, by the end of the 1960s, two copies of the ultra-rare Le Cene edition of the set of 12 concertos had been found. A strangely pellucid and conventional recording of the then unfamiliar music was promptly made by I Musici for Philips, at which point all interest in the novelty of Albinoni’s Op. 10 set seemed to vanish. Only two other recordings separate the old I Musici version and this, Chandos Chaconne’s Albinoni: Homage to a Spanish Grandee — Concertos from Op. 10, a distance of more than 40 years. This time — perhaps wisely — Chandos decided to pass on the whole set of 12 and include a selection of the eight best concertos, as performed by period instrument group Collegium Musicum 90 under Simon Standage. Overall this is a much brighter, livelier, and more alert performance than has so far proved the norm, and the result is that a few concertos rise out of the collection owing to their sense of urgency and immediacy: the Concerto Secondo in G minor, the Concerto Settimo in F major, and the Concerto Undicesmo in C minor in particular. The aggressive strumming in the first movement is said to reflect the sound of the Spanish guitar in flamenco, and indeed perhaps the edge that Standage and company have over all others is their research into the dedicatee of this concerto set. That was the Marquis of Castelar, Don Luca Fernando Patiño of Spain, who visited Italy in the middle 1730s owing to some business relating to his involvement in the War of the Polish Succession. That explains a certain fashioning of the music in accord with Spanish tastes, but there is yet a more interesting dimension. Albinoni’s Op. 10 concerti are the latest-made works that we have from his pen — by far, owing to heavy losses among his vocal output — and they demonstrate Albinoni’s growing familiarity with galant style, even as he reserves for his accompaniment strategy much the same approach as he had employed 30 years before, with some minor modifications. This was a very new wrinkle in Western music in the mid-1730s; when Albinoni wrote these concertos Pergolesi still lived and the followers of Francesco Durante were just becoming known. Galant style evaded, or foiled, many composers much younger than Albinoni, and that he was able to adapt to the new manner shows that some aspects of his music continued to evolve even into his old age.

Tracklist:
01 – Concerto Primo: Allegro [in B flat major - in B-Dur - en si bémol majeur]
02 – Concerto Primo: Adagio [in B flat major - in B-Dur - en si bémol majeur]
03 – Concerto Primo: Allegro [in B flat major - in B-Dur - en si bémol majeur]
04 – Concerto Secondo: Allegro [in G minor - in g-Moll - en sol mineur]
05 – Concerto Secondo: Andante [in G minor - in g-Moll - en sol mineur]
06 – Concerto Secondo: Allegro [in G minor - in g-Moll - en sol mineur]
07 – Concerto Terzo: Allegro [in C major - in C-Dur - en ut majeur]
08 – Concerto Terzo: Adagio [in C major - in C-Dur - en ut majeur]
09 – Concerto Terzo: Allegro [in C major - in C-Dur - en ut majeur]
10 – Concerto Quinto: Allegro [in A major - in A-Dur - en la majeur]
11 – Concerto Quinto: Sempre Piano [in A major - in A-Dur - en la majeur]
12 – Concerto Quinto: Allegro [in A major - in A-Dur - en la majeur]
13 – Concerto Settimo: Allegro [in F major - in F-Dur - en fa majeur]
14 – Concerto Settimo: Andante [in F major - in F-Dur - en fa majeur]
15 – Concerto Settimo: Allegro [in F major - in F-Dur - en fa majeur]
16 – Concerto Ottavo: Allegro [in G minor - in g-Moll - en sol mineur]
17 – Concerto Ottavo: Largo [in G minor - in g-Moll - en sol mineur]
18 – Concerto Ottavo: Allegro [in G minor - in g-Moll - en sol mineur]
19 – Concerto Undicesimo: Allegro [in C minor - in c-Moll - en ut mineur]
20 – Concerto Undicesimo: Larghetto [in C minor - in c-Moll - en ut mineur]
21 – Concerto Undicesimo: Allegro assai [in C minor - in c-Moll - en ut mineur]
22 – Concerto Dodicesimo: Allegro [in B flat major - in B-Dur - en si bémol majeur]
23 – Concerto Dodicesimo: Adagio [in B flat major - in B-Dur - en si bémol majeur]
24 – Concerto Dodicesimo: Allegro [in B flat major - in B-Dur - en si bémol majeur]

Produced by Nicholas Anderson. Sound Engineer: Jonathan Cooper.
Recorded at St. Jude-on-the-Hill, Hampstead Garden Suburb (London, 11-13 November 2009).

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Slowly Rolling Camera – Slowly Rolling Camera (2014)
FLAC (tracks) 24 bit/48 kHz | Time – 60:08 minutes | 729 MB
Official Digital Download – Source: Bandcamp.com | Front cover

Slowly Rolling Camera, teams up composer Dave Stapleton, producer Deri Roberts, vocalist-lyricist Dionne Bennett & drummer Elliot Bennett. Their music has distinct echoes of the ‘invisible soundtracks’ of UK progressives Cinematic Orchestra & 4Hero combining double bass led grooves, with shifting rhythms & arresting harmonies all skilfully performed by some of the best jazz musicians in the UK.

Tracklist:
01 – Protagonist
02 – Dream A Life
03 – Rain That Falls
04 – Bridge
05 – Slowly Rolling Camera
06 – Outside
07 – Fragile Ground
08 – Two Roads
09 – River Runs Free
10 – Rolling Clouds
11 – Color

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Orchestre Philharmonique Royal de Liège & Soloists Of The Queen Elisabeth Music Chapel -
Camille Saint-Saёns: Complete Works for Violin and Orchestra & Cello and Orchestra (3CD, 2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 232:56 minutes | 2,29 GB
Official Digital Download – Source: Qobuz.com | Digital booklet

This ambitious project consists of a recording of the complete music for violin and orchestra and cello and orchestra by Camille Saint-Saëns. No major composer of the last two centuries, in any land, has matched Saint-Saëns’s devotion to the concertante form. This recording project, presenting his complete works for violin and orchestra and for cello and orchestra, provides a rare (indeed a unique!) opportunity to perceive the gradual development of Saint-Saëns’s style.

Each year, new musicians prepare for their solo career at the the Queen Elizabeth Music Chapel, helped by great performers such as the violinist Augustin Dumay, the cellist Gary Hoffman, and the pianist Maria João Pires. Accompanied by the Liège Royal Philharmonic Orchestra under the direction of the Viennese conductor Christian Arming, the young violinists and cellists of the Chapel present not just the most frequently performed concertos of Saint-Saëns, but also a chance to discover such little known works as the First and Second violin concertos and the Second Cello Concerto.

Tracklist:
CD1 #01 – Violin Concerto No. 1 in A Major, Op. 20: Allegro – Andante espressivo – Tempo primo
CD1 #02 – Violin Concerto No. 2 in C Major, Op. 58: I. Allegro moderato e maestoso
CD1 #03 – Violin Concerto No. 2 in C Major, Op. 58: II. Andante espressivo
CD1 #04 – Violin Concerto No. 2 in C Major, Op. 58: III. Allegro scherzando, quasi allegretto
CD1 #05 – Violin Concerto No. 3 in B Minor, Op. 61: I. Allegro non troppo
CD1 #06 – Violin Concerto No. 3 in B Minor, Op. 61: II. Andantino quasi allegretto
CD1 #07 – Violin Concerto No. 3 in B Minor, Op. 61: III. Molto moderato e maestoso

CD2 #01 – Introduction and rondo capriccioso for Violin and Orchestra in A Minor, Op. 28
CD2 #02 – Romance for Violin and Orchestra in D-Flat Major, Op. 37
CD2 #03 – Le déluge, Op. 45: Prelude
CD2 #04 – Romance for Violin and Orchestra in C Major, Op. 48
CD2 #05 – Six études for Piano, Op. 52: VI. En forme de valse (Transcription for Violin and Orchestra by Eugène Ysaÿe)
CD2 #06 – Morceau de concert for Violin and Orchestra in A Minor, Op. 62
CD2 #07 – Havanaise for Violin and Orchestra in E Major, Op. 83
CD2 #08 – Caprice andalou for Violin and Orchestra in G Major, Op. 122
CD2 #09 – Allegro appassionato for Cello and Orchestra in B Minor, Op. 43

CD3 #01 – Cello Concerto No. 1 in A Minor, Op. 33: I. Allegro non troppo
CD3 #02 – Cello Concerto No. 1 in A Minor, Op. 33: II. Allegretto con moto
CD3 #03 – Cello Concerto No. 1 in A Minor, Op. 33: III. Tempo primo
CD3 #04 – Cello Concerto No. 2 in D Minor, Op. 119: I. Allegro moderato e maestoso – Andante sostenuto
CD3 #05 – Cello Concerto No. 2 in D Minor, Op. 119: II. Allegro non troppo – Molto allegro
CD3 #06 – Suite for Cello and Orchestra, Op. 16b: I. Prélude (Moderato assai)
CD3 #07 – Suite for Cello and Orchestra, Op. 16b: II. Sérénade (Andantino)
CD3 #08 – Suite for Cello and Orchestra, Op. 16b: III. Gavotte (Allegro non troppo)
CD3 #09 – Suite for Cello and Orchestra, Op. 16b: IV. Romance (Molto adagio)
CD3 #10 – Suite for Cello and Orchestra, Op. 16b: V. Tarantelle (Presto non troppo)
CD3 #11 – Romance for Cello and Orchestra in F Major, Op. 36
CD3 #12 – La muse et le poète for Violin, Cello and Orchestra in E Minor, Op. 132

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Terri Lyne Carrington – Money Jungle: Provocative In Blue (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 62:26 minutes | 689 MB
Official Digital Download – Source: HDTracks.com | Front/Rear cover

In 1962, Duke Ellington, Charlie Mingus and Max Roach created one of the pivotal jazz recordings of the 1960s. Money Jungle provided commentary on the perennial tug-of-war between art and commerce. GRAMMY Award-winning drummer, composer and bandleader Terri Lyne Carrington, Gerald Clayton and Christian McBride pay homage to Duke, his trio and his creative vision with a cover of this historic recording. Carrington also enlists guest artists to help with the rearrangements and reinterpretations. These musicians include: Clark Terry, Robin Eubanks, Tia Fuller, Antonio Hart, Nir Felder, Arturo Stabile, Shea Rose and Lizz Wright. Also included are two Carrington originals, “Grass Roots” and “No Boxes (Nor Words),” along with “Cut Off,” a delicate piece written by Clayton. Money Jungle: Provocative In Blue brings fresh light and energy to this jazz classic.

Drummer and bandleader Terri Lyne Carrington won a Grammy in 2012 for her genre-blurring Mosaic Project, which blended the voices and instruments of an all-female cast in a series of bold musical statements. Here Carrington turns her sights toward revisioning a legendary meeting of jazz minds on the recording of 1963′s Money Jungle by Duke Ellington, Charles Mingus, and Max Roach. Accompanied by pianist Gerald Clayton, bassist Christian McBride, and a host of guests, Carrington not only reinterprets that album, she adds to its discourse with two of her own compositions and another by Clayton. She doesn’t follow the original sequence of Money Jungle. She kicks it off with the title cut introduced by her drum kit underneath the voice of activist and author Michael Ruppert, whose quote, “You have to create problems to create profit,” highlights other well-chosen, organically placed sound clips from Rev. Dr. Martin Luther King, Jr., Hilary and Bill Clinton, and Barack Obama, making the tune — and the album — an artistic, musical indictment of the pervasive corruption in Western capitalism. But this set is far from some autodidactic sermonette. As McBride and Clayton enter the tune’s fray, things get funky and swing. With her trademark brand of authoritative circular rhythm (deeply influenced by Roach) at the core, this trio comes together seamlessly to move the argument from the intellect into the heart. Nonagenarian jazz elder Clark Terry lends his deep blue scatting vocal and trumpet to a steamy read of “Fleurette Africaine.” The set’s hinge piece is “Wig Wise,” with its knotty lyric head stated definitively by Clayton. McBride shines throughout, but his blues solo, which kicks off “Switch Blade,” offers homage to that same feel in Mingus. Nir Felder’s gutbucket, bottleneck guitar playing introduces what becomes a sophisticated, slinky, nocturnal read of “Backwoods Country Boy Blues,” which is decidedly more urban than its title suggests. It is complemented beautifully by Lizz Wright’s wordless vocals. Carrington’s “Grass Roots” is a beautifully angular blues, while her “No Boxes (Nor Words)” is an expressionistic modernist post-bop number with a smoking solo by McBride. The set ends with “REM Blues/Music,” which commences quietly, subtly, and with a shimmering quality from Clayton’s Rhodes. The tune incorporates an Ellington poem recited by Shea Rose with a spoken coda by him offered by Herbie Hancock. Carrington’s title, Money Jungle: Provocative in Blue, is apt. She reveals the pervasive nature the blues in the original album’s compositions and intent, and underscores how their importance resonates in jazz’s present tense. And nothing brings the blues like money — especially the lack of it. But Ellington himself stated that “… the music will be there when the money is gone.” Amen.

Tracklist:
01 – Money Jungle
02 – Fleurette Africain
03 – Backward Country Boy Blues
04 – Very Special
05 – Wig Wise
06 – Grass Roots
07 – No Boxes (Nor Words)
08 – A Little Max (Parfait)
09 – Switch Blade
10 – Cut Off
11 – Rem Blues / Music

Produced by: Terri Lyne Carrington.
Mastered by: Paul Blakemore at CMG Mastering.

Musicians:
Terri Lyne Carrington – drums
Gerald Clayton – piano, Rhodes
Christian McBride – bass
Robin Eubanks – trombone
Tia Fuller – alto, flute
Antonio Hart – flute
Nir Felder – guitar
Arturo Stable – percussion
Shea Rose – voice, track 11
Lizz Wright – voice, track 3
Herbie Hancock – voice of Duke Ellington, track 11
Special Guest: Clark Terry – trumpet, voice, track 2

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The Allman Brothers Band – Brothers And Sisters (1973/2013)
FLAC (tracks) 24-bit/96 kHz | Time – 247:37 minutes | 5,69 GB
Official Digital Download – Source: HDTracks.com | Front cover

This 40th Anniversary Super Deluxe Edition features the original recording, a second album of previously unreleased Jams, Rehearsals and Outtakes, in addition to two extra albums that feature the entire live show from Winterland in San Francisco on September 26, 1973.

When the Allman Brothers Band’s fifth album, Brothers and Sisters, was released on Capricorn Records in August 1973, the legendary southern blues-rock group had already achieved world-wide fame with their 1971 live album, At Fillmore East. This success was followed by the tragic loss of their founder, leader and musical visionary, guitarist Duane Allman, who died in a motorcycle crash on October 29, 1971. While regrouping under the leadership of singer/organist Gregg Allman and guitarist/vocalist Dickey Betts, The Allman Brothers Band soldiered on with Brothers and Sisters, which turned out to be their most successful recording to date.

To mark its 40th anniversary, the original classic recording,–which includes “Ramblin’ Man”, “Wasted Words”, “Jessica” and “Come and Go Blues”–is re-released in re-mastered form. The four-CD set includes two discs devoted to a live performance at Winterland in San Francisco, Sept. 26, 1973, right after Brothers and Sisters’ release, featuring an introduction by Bill Graham and previously unavailable live versions of “Done Somebody Wrong”, “Stormy Monday”, “Midnight Rider”, “Statesboro Blues”, “You Don’t Love Me” (which includes “Amazing Grace”), “Les Brers in A Minor”, “Blue Sky”, “Trouble No More” and “Whipping Post”, along with two Brothers and Sisters tracks in “Come and Go Blues” and “Jessica”.

Disc One: Original Album
01 – Wasted Words
02 – Ramblin’ Man
03 – Come And Go Blues
04 – Jelly Jelly
05 – Southbound
06 – Jessica
07 – Pony Boy

Disc Two: Rehearsals, Jams & Outtakes
01 – Wasted Words (Rehearsal)
02 – Trouble No More (Reheasal)
03 – Southbound (Instrumental Outtake)
04 – One Way Out (Rehearsal)
05 – I’m Gonna Move To The Outskirts Of Town (Rehearsal)
06 – Done Somebody Wrong (Rehearsal)
07 – Double Cross (Outtake)
08 – Early Morning Blues (Outtake)
09 – A Minor Jam (Studio Jam)

Disc Three: Live At Winterland, September 26, 1973
01 – Introduction By Bill Graham
02 – Wasted Words
03 – Done Somebody Wrong
04 – One Way Out
05 – Stormy Monday
06 – Midnight Rider
07 – Ramblin’ Man
08 – In Memory Of Elizabeth Reed
09 – Statesboro Blues
10 – Come And Go Blues

Disc Four: Live At Winterland, September 26, 1973
01 – Southbound
02 – Jessica
03 You Don’t Love Me (Includes Amazing Grace)
04 – Les Brers In A Minor (With Drum Solo)
05 – Blue Sky
06 – Trouble No More
07 – Whipping Post

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The Clash – London Calling (1979/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 65:09 minutes | 1,6 GB
Official Digital Download – Source: HDTracks.com | Front cover

London Calling is a stunning album for any time, and is an absolute classic record that no rock & roll fan should be without. The record established the Clash as more than just a punk band, but a band with a strong message that is still vibrant and relevant today.

The album was recorded after the Clash had separated from their manager Bernard Rhodes, which meant that they also had to leave their rehearsal studio in Camden Town and find another place to practice and write. Work began on the material that would become London Calling during the summer of 1979, and recording began at Wessex Studios in August of 1979. Guy Stevens, known for his unconventional methods, produced the record. Many of the songs were recorded in just a few takes, but the album overall took nearly six weeks to record.

Give ‘Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There’s punk and reggae, but there’s also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn’t tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs — particularly “London Calling,” “Spanish Bombs,” and “The Guns of Brixton” — are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote “The Guns of Brixton”) explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it’s rockabilly greasers or “Stagger Lee,” as well as mavericks like doomed actor Montgomery Clift.

Tracklist:
01 – London Calling
02 – Brand New Cadillac
03 – Jimmy Jazz
04 – Hateful
05 – Rudie Can’t Fail
06 – Spanish Bombs
07 – The Right Profile
08 – Lost in the Supermarket
09 – Clampdown
10 – The Guns of Brixton
11 – Wrong ‘Em Boyo
12 – Death or Glory
13 – Koka Kola
14 – The Card Cheat
15 – Lover’s Rock
16 – Four Horsemen
17 – I’m Not Down
18 – Revolution Rock
19 – Train in Vain

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The Glitch Mob – Love Death Immortality (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 51:06 minutes | 1,15 GB
Official Digital Download – Source: HDTracks.com | Digital booklet

The Glitch Mob – the Los Angeles-based trio comprising Justin Boreta, Ed Ma, and Joshua Mayer – continues their forward movement into 2014. Boreta, edIT, and Ooah came together around 2006, passing through various members until settling on this core trio of musicians. Together, they combined their different skills and aesthetics into the compellingly collage whole that has become one of the most beloved live electronic acts, and distinctive recording artists, working today.

Los Angeles-based three-piece the Glitch Mob drift even further from their name on Love Death Immortality, an album that suggests they be renamed the EDM Mob, the Big Room Mob, the Bass Drop Mob, or maybe the Totally Accessible Yet Utterly Awesome Mob. Whatever they decide upon, it’s doubtful fans will be able to hear the announcement over this sophomore release, as the more reserved and calm bits of their debut, 2010′s Drink the Sea, have given way to moments more meaty and beaty. The opening “Mind of a Beast” lives up to its title with a ridiculously punchy bassline, a chaotic set of sequencer melodies, and one of those high-pitched, screamy synth lines the Mob adore. It’s a style that returns on “Our Demons,” where Nico Vega vocalist Aja Volkman barks out the beautiful “No one ever asked you to dig deeper/No wonder you got demons,” and suddenly, tough love therapy gets turned up to 11. Dark wave and dubstep wrestle their way down the hill on the starting-and-stopping highlight “Becoming Harmonious,” featuring the enchanting guest vocalist Metal Mother, and with Sister Crayon vocalist Terra Lopez elevating the somewhat serene “Beauty of the Unhidden Heart” to an angelic level, that’s plenty of evidence that the Mob certainly know how to pick their sirens. Still, the boomiest bomb of them all is the instrumental “Can’t Kill Us,” which creeps, groans, and grows as if it were built for a thriller soundtrack, but then comes the break, which twists and turns before shooting this dubstep-influenced mood piece into the sky like a firework. Even if the Glitch Mob are more crowd-pleasers than innovators, these are well-crafted floor-fillers created with great care, plus the album feels inspired the whole way through, banging from one song to the next with no bummers or filler to skip.

Tracklist:
01 – Mind of a Beast
02 – Our Demons (feat. Aja Volkman)
03 – Skullclub
04 – Becoming Harmonious (feat. Metal Mother)
05 – Can’t Kill Us
06 – I Need My Memory Back (feat. Aja Volkman)
07 – Skytoucher
08 – Fly By Night Only (feat. Yaarrohs)
09 – Carry The Sun
10 – Beauty Of The Unhidden Heart (feat. Sister Crayon)

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Toni Braxton & Babyface – Love, Marriage & Divorce (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 43:46 minutes | 582 MB
Official Digital Download – Source: HDTracks.com | Digital booklet

Love, Marriage & Divorce is the latest R&B album featuring Toni Braxton and Kenneth “Babyface” Edmonds. The two first collaborated in 1992 for the single “Give U My Heart,” the soundtrack to the film Boomerang. This is Babyface’s first album release in seven years and Braxton’s first new album since 2010. The album features hits “Hurt You” and “Where Did We Go Wrong”.

On Love, Marriage & Divorce, Toni Braxton and Babyface, creative partners going back to the early ’90s, rekindle their musical relationship. Both endured broken marriages, and presumably it’s those experiences that inform the material here — a succinct collection of 11 songs, eight of which are duets. The emphasis is on divorce, indicated from the very beginning on “Roller Coaster,” where Babyface enters with “Today I got so mad at you, it’s like I couldn’t control myself.” The set finishes with the bittersweet “The D Word,” seemingly a Sade homage, in which Babyface confesses “You still own my heart, forever and ever and ever.” Moments that deviate from issues of romantic strife are few. The duo don’t seem nearly as connected to them. “Sweat,” a slinking groove, is like the “Love During War” to Robin Thicke’s “Love After War,” while “Heart Attack,” near the album’s end, is a retro-disco move that seems more like a throw-in than a crucial part of the album. The sequence of songs plays out like scenes on shuffle. Either that, or the relationship is extremely up and down; the singers sometimes sound as if they are addressing ex-lovers from other relationships. “Reunited” is a blissful ballad, but it’s followed by the embittered “I’d Rather Be Broke,” where Braxton asserts, “Just because your money’s strong don’t mean you can do the things that you do.” Babyface is civil and clear-headed on “I Hope That You’re Okay,” claiming he “can’t go through the motions anymore,” but Braxton follows with a solo spotlight, “I Wish,” that seems drawn from a different situation: “I hope she creeps on you with somebody who is 22/I swear to God, I’m gonna be laughing at you every day.” As a narrative, the album can be hard to follow, but it’s not as if breakups have a simple arc with a steady, unwavering decline. While most of these songs are ballads, Babyface rarely pulls out his acoustic guitar — a saving grace for those who tired of hearing it throughout the ’90s. This is a solid addition to both artists’ discographies. The romantically content won’t want to go anywhere near it.

Tracklist:
01 – Roller Coaster
02 – Sweat
03 – Hurt You
04 – Where Did We Go Wrong?
05 – I Hope That You’re Okay
06 – I Wish
07 – Take It Back
08 – Reunited
09 – I’d Rather Be Broke
10 – Heart Attack
11 – The D Word

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Tord Gustavsen Quartet – Extended Circle (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 51:09 minutes | 1028 MB
Official Digital Download – Source: HDTracks.com | Digital Booklet

For Norwegian pianist Tord Gustavsen, the title of his sixth album for ECM has a programmatic significance. Extended Circle refers, he says, to the completion of a “double circle” of trilogies: the first with the trio heard on Changing Places, The Ground and Being There, and the second with the quartet (formed inside the expanded ensemble of Restored, Returned in 2009 and then documented on The Well in 2012). Extended Circle opens and closes with a trio piece, while exploring textural and dynamic variations in between. “You come back to the point of departure but with new insight – and things are the same but not the same,” Gustavsen sums up an album that in his view points forward to musical openness, but also back to his 2003 ECM debut.

The title of pianist Tord Gustavsen’s sixth offering for ECM is, like his compositions, elusive on the surface but imparting multiple shades of meaning. His first three albums with the label showcased a trio; his last three the expanded setting of a quartet. Gustavsen’s pianism is distinct and was developed over time while backing vocalists. The subtlety and lyricism from that time are embedded in his compositional DNA. His music as a bandleader has moved ever outward from a still — not static — center. This was especially prevalent on the trio recordings, where an intentional emphasis of restraint was placed on timbre, texture, and space (and can be heard on the bookend trio pieces here, “Right There” and “The Prodigal Song”). Over the quartet albums, his work has embraced a wider palette of colors and dynamics with a considerably expanded harmonic field. With saxophonist Tore Brunborg, bassist Mats Eilertsen, and drummer Jarle Vespestad, Gustavsen pushes at the boundaries of the circle and expands its reach. The traditional Norwegian hymn, “Eg Veit I Himmerik Ei Borg,” showcases elegant chord voicings balanced by a turbulent, rhythmic undercurrent led by Vespestad’s simmering drums, and woody dynamic support from Eilertsen that adds tension and dynamic. Brunborg’s solo moves to the edges, nearly free of melodic constraints as Gustavsen’s changes become more percussive to accommodate him. “Staying There” is an excellent showcase for Brunborg on a nearly funky blues groove. “The Gift” finds his rumbling tenor utterance in the tune’s head, deep, warm, and soulful above a spacious, circular piano vamp and a rhythm section whose playing alternates between procession and shuffle. “Devotion” features lovely arco playing from Eilertsen in a rubato tone poem; its melody is based on Christian sacred music. The elliptical group playing at its center is especially appealing and connected. “The Embrace” is a canny modern jazz meld of gospel themes and soul music. On the midtempo “Glow,” Gustavsen’s vulnerability shines through as Brunborg answers his lines with emotive assent and encouragement. On Extended Circle, the pianist’s roots remain contemplative, but the maturity of the communication among these players provides a more fluid and physical sense of motion, revealing a multi-faceted approach to both playing his tunes and improvising.

Tracklist:
01 – Right There
02 – Eg Veit I Himmerik Ei Borg
03 – Entrance
04 – The Gift
05 – Staying There
06 – Silent Spaces
07 – Entrance, Var.
08 – Devotion
09 – The Embrace
10 – Bass Transition
11 – Glow
12 – The Prodigal Song

Produced by Manfred Eicher. Engineer: Jan Erik Kongshaug
Recorded at Rainbow Studio, Oslo, Norway (June 2013).

Musicians:
Tord Gustavsen – piano
Tore Brunborg – tenor saxophone
Mats Eilertsen – double bass
Jarle Vespestad – drums

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Valerie Joyce – New York Blue (2006)
FLAC (tracks) 24 bit/96 kHz | Time – 51:43 minutes | 1,14 GB
Jazz Vocal | Official Digital Download – Source: HDTracks.com | Digital Booklet

Chesky Records is pleased to announce the national recording debut of vocalist Valerie Joyce with the May 2006 release of New York Blue. New York Blue is a collection of classic jazz, standards, and pop tunes that showcase the singer’s distinctively smoky vocal sound and nuanced performance. Producer David Chesky says, “Valerie has a great feel for the music and has one of the most unique singing voices I have ever heard”.

Pianist Andy Ezrin worked with Valerie on the arrangements for the album’s thirteen tracks that range from tunes by Cole Porter and Rogers & Hart to Miles Davis to the Beatles. They are joined on the album by musicians Lawrence Feldman on saxophones and Eugene Jackson and Tim Lefevre taking turns on bass for a live recording that is pure Chesky.

Tracklist:
01 – It Never Entered My Mind
02 – Blue in Green
03 – Baby Can I Hold You
04 – Fever
05 – Oasis
06 – Every Time We Say Goodbye
07 – Moon and Sand
08 – Little Wing
09 – Weaver of Dreams
10 – It’s Easy to Remember
11 – Darn that Dream
12 – I Fall in Love too Easily
13 – Golden Slumbers

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Valerie Joyce – The Look Of Love: The Music of Burt Bacharach (2001/2007)
FLAC (tracks) 24 bit/96 kHz | Time – 49:43 minutes | 1,13 GB
Jazz Vocal | Official Digital Download – Source: HDTracks.com | Digital Booklet

“The Look of Love” is Valerie Joyce’s much anticipated follow-up to her Chesky debut, featuring elegantly chic original arrangements of the classic pieces in Burt Bacharach & Hal David’s catalogue. This album was recorded in multi-channel surround sound using Chesky’s state of the art minimalist miking techniques and the world’s finest custom-made electronics to assure the purest, most natural sounding recording available.

Tracklist:
01 – Walk On By
02 – What The World Needs Now
03 – Alfie
04 – (They Long To Be) Close To You
05 – A House Is Not A Home
06 – The Look Of Love
07 – Raindrops Keep Falling On My Head
08 – That’s What Friends Are For
09 – I Say A Little Prayer For You
10 – Arthur’s Theme (Best That You Can Do)

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Whysowhite – Whysowhite (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 53:57 minutes | 625 MB
Official Digital Download – Source: Bandcamp.com | Front cover

Whysowhite’s eponymous album combines hip-hop inspired lyrical flows with some super funky bass guitar riffs, while changing things up with the reggae-influenced track “too much” and the epic rock ballad “∞”. If you were drunk enough, you might just think that an equally inebriated funk band in New Orleans had swum its way up the Mississippi, somersaulted onto the shores of Lake Michigan and recorded this album with whatever bourbon was still bouncing through its bloodstream. One can’t help but think that this is a band you’re meant to witness live from the cramped back room of a dingy bar in Chicago…or, for that matter, the French Quarter.

Tracklist:
01 – Kickin’ It Off
02 – The Approach
03 – Exhale
04 – Mowgli feat. Sir Jove
05 – Too Much
06 – Get Busy
07 – Renegade
08 – ∞

All songs written and performed by Whysowhite.
Recorded and mixed at engine co. 86 by Chris “DNGR” Miller – Chicago, IL.
Mastered by Tom Tierney at Spaceman Sound, Brooklyn, New York, NYC.

Musicians:
Big Nick – vocals
Charlie Moonbeam – vocals
D-Pop Fantastic – vocals, congas
DNGR – lead guitar
Uncle Funk – rhythm guitar
Custom Sumberg – bass
Fatphlams Levine – drums
Brahmz – percussion
The Shef – keys, vocals

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Willie Nelson – Country Music (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 54:53 minutes | 1,15 GB
Official Digital Download – Source: HDTracks.com | Digital booklet

Willie Nelson goes back to his roots with a songbook of classic Americana. Country Music was recorded in Nashville, TN and produced by T Bone Burnett. Nelson wrote one track on the album, “Man With The Blues” and, with T Bone Burnett, co-arranged three traditional songs, “Satan Your Kingdom Must Come Down,” “I Am A Pilgrim,” and “Nobody’s Fault But Mine.” The album also features many popular old-time/bluegrass/folk songs including Ernest Tubb’s “Seaman’s Blues, Merle Travis’ “Dark As A Dungeon,” and The Delmore Brothers “Freight Train Boogie”. Willie Nelson collaborated with many musicians on Country Music including old-time banjo master Riley Baugus, double bassist Dennis Crouch, and T Bone himself, all musicians featured on Raising Sand, the 2009 Grammy award-winning Album of the Year by Robert Plant and Alison Krauss.

Naturally, the not-so-unspoken joke behind the title of Willie Nelson’s 2010 album is that it’s been so long since he’s played straight country music, Nelson needs to clearly label it when he does. Of course, that’s not strictly true: just as recently as 2009 he was ripping it up with Asleep at the Wheel, turning out a straight-ahead western swing record that is every bit as country as Country Music, although it is true that he’s never quite cut a collection of country music as hushed and muted as this. The soft-plucked string bass and strummed acoustic guitars are are trademarks of T-Bone Burnett, the roots music producer whose well-tailored analog impressionism fetishizes authenticity, prizing every piece of pristinely preserved vintage equipment and then recording them immaculately — often with appealing results, but with a mannered ritualization that’s somewhat distancing for those who don’t share his obsessions. All this makes Country Music a curious experience: seemingly, this should be well within Nelson’s wheelhouse, but he never truly inhabits the songs, partially due to the tasteful remove of Burnett’s spare, hazy production. Warm and supple it may be, the production puts a layer of gauze between the listener and the singer, but the singer isn’t at his most dynamic, either. To be sure, there’s a nicely weathered assurance to Nelson’s performance — his voice never strains, he throws off licks with a casual virtuosity — but there’s no immediacy, either, not the way there was on that duet with Asleep at the Wheel or on his stellar tribute to Cindy Walker in 2006. Most of the time, Nelson just sounds like an old pro happy to play with whoever is in the studio, happy to sing whatever the producer puts in front of him — and that’s what makes Country Music not all that different from Songbird or Countryman, which were also driven by their respective producers to places that don’t seem as classically country as this purports to be.

Tracklist:
01 – Man With The Blues
02 – Seaman’s Blues
03 – Dark As A Dungeon
04 – Gotta Walk Alone
05 – Satan Your Kingdom Must Come Down
06 – My Baby’s Gone
07 – Freight Train Boogie
08 – Satisfied Mind
09 – You Done Me Wrong
10 – Pistol Packin’ Mama
11 – Ocean of Diamonds
12 – Drinking Champagne
13 – I Am A Pilgram
14 – House of Gold
15 – Nobody’s Fault But Mine

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Xavier Sabata – Georg Friedrich Handel: Bad Guys (2012)
FLAC (tracks) 24-bit/96 kHz | Time – 53:02 minutes | 999 MB
Official Digital Download – Source: Qobuz.com | Covers & Digital Booklet

This ranks among the most intelligent and striking recital discs of recent years. Spanish counter-tenor Xavier Sabata,, along with the Italian ensemble Il Pomo d’Oro – conducted by Riccardo Minasi, explores the worlds of Handel’s villains – the tyrants, hypocrites and sensualists who are integral to his dramatic and moral vision, but whose music is rarely heard outside of the theatre. The album reminds us that Handel characterises evil with the same complexity and insight with which he depicts good; and it forms a superb showcase for an exceptional singer, who’s never received the attention he deserves.

The castrato in Italian opera of the early 18th century had vocal power that was often associated with heroic roles, but Handel wrote several memorable villains for the voice type as well. Indeed, using the castrato’s star quality to add depth to his bad guys was one facet of his operatic genius, and the idea of collecting a group of these arias is good enough to recommend this album even apart from the vocal gifts of Spanish countertenor Xavier Sabata. And those gifts are considerable. Sabata is a true operatic countertenor, somewhat in the vein of Philippe Jaroussky (to whose album of Vivaldi heroic arias this release makes a fine companion). In addition to power and a consistently creamy tone, he has the interpretive chops to put across the emotional complications of these arias, many of which have a delicious mixture of seduction and longing: they cast the bad guy in the role of romantic pursuer. There are a few well-known pieces in here (such as those from Giulio Cesare and perhaps Ariodante), but most of the program is drawn from obscure operas, and Sabata has definitely pointed the way toward bringing them alive. The accompanimental work from the historical-instrument group Il Pomo d’Oro under Riccardo Minasi is both technically superb and fully participatory in the dramatic characterization, and the engineering, from a convent in the northern Italian town of Lonigo, exposes a venue that other recording-makers would do well to check out: it’s warm, clear, and very kind to the orchestral strings. The graphics associated with the project are of just the kind needed to draw in new listeners to this kind of recording. In all, an original and superbly executed vocal recital.

Tracklist:
01 – Tamerlano: Acte I, Scène 2, Tamerlano: Vo’ dar pace a un’ alma altiera
02 – Ariodante: Acte I, Scène 9, Polinesso: Spero per voi, si, si
03 – Teseo: Acte IV, Scène 1, Egeo: Voglio stragi, e voglio morte
04 – Amadigi di Gaula: Acte II, Scène 5, Dardano: Pena tiranna
05 – Ariodante: Acte III, Scène 3, Polinesso: Dover, giustizia, amor
06 – Giulio Cesare in Egitto: Acte II, Scène 9, Tolomeo: Belle dèe di questo core
07 – Ottone, rè di Germania: Acte III, Scène 3, Adelberto: D’innalzar i flutti al ciel
08 – Ottone, rè di Germania: Acte III, Scène 3, Adelberto: Bel labbro formato
09 – Giulio Cesare in Egitto: Acte III, Scène 2, Tolomeo: Domerò la tua fierezza
10 – Teseo: Acte I, Scène 5, Egeo: Serenatevi, o luci belle
11 – Ariodante: Acte II, Scène 5, Polinesso: Se l’inganno sortisce felice
12 – Amadigi di Gaula: Acte I, Scène 6, Dardano: Agitato il cor mi sento
13 – Ottone, rè di Germania: Rinaldo: Sorge nel petto

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Yes – Drama (1980/2014)
FLAC (tracks) 24 bit/192 kHz | Time – 36:57 minutes | 1,48 GB
Official Digital Download – Source: HDTracks.com | Front cover

1980 was a great year for the legendary Yes. While the Close To The Edge line-up was taking a break, founding member Chris Squire maintained the legendary status of the band along with long- time band mates Steve Howe & Alan White, with new members Trevor Horn & Geoff Downes (The Buggles), and created the harder rocking masterpiece, Drama. With stand outs like “Into The Lens”, it was easy to hear why this new edgy Yes sound truly resonated in the eighties. Check out the amazing musicianship on “Run Through The Light” and “Tempus Fugit”, all of which made Drama the classic album it is today!

For this one album, ex-Buggles Geoffrey Downes and Trevor Horn were drafted in to replace Jon Anderson and Rick Wakeman. It rocks harder than other Yes albums, and for classically inclined fans, it was a jarring departure; but it was a harbinger of Yes and Asia albums to come. A newly emboldened Chris Squire lays down aggressive rhythms with Alan White, and Steve Howe eschews his usual acoustic rags and flamenco licks for a more metallic approach, opting for sheets of electric sound. Prime cuts include the doom-laden “Machine Messiah” and the manic ska inflections of “Tempus Fugit.” Despite the promise of this new material, the band soon fell apart; Horn went into production, Howe and Downes joined Asia, and Squire and White toyed and then gave up on a pair-up with Robert Plant and Jimmy Page, which was to be titled XYZ (i.e., Ex-Yes and Zeppelin).

Tracklist:
01 – Machine Messiah
02 – White Car
03 – Does It Really Happen
04 – Into The Lens
05 – Run Through The Light
06 – Tempus Fugit

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Yes – Fragile (1971/2002/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 41:17 minutes | 902 MB
Official Digital Download – Source: HDTracks.com | Front cover

The fourth studio album by British prog-rock legends Yes stands among the band’s greatest and most commercially successful work. Marrying the complexity of classical music (the album includes reworked excerpts of Brahms’ 4th Symphony) the melodicism of pop, and the instrumental prowess of progressive jazz, the record took the recording industry by storm, sitting on the Billboard 200 for 46 weeks and eventually going gold.

Fragile was Yes’ breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon; not coincidentally, it also marked the point where all of the elements of the music (and more) that would define their success for more than a decade fell into place fully formed. The science-fiction and fantasy elements that had driven the more successful songs on their preceding record, The Yes Album, were pushed much harder here, and not just in the music but in the packaging of the album:the Roger Dean-designed cover was itself a fascinating creation that seemed to relate to the music and drew the purchaser’s attention in a manner that few records since the heyday of the psychedelic era could match. Having thrown original keyboard player Tony Kaye overboard early in the sessions — principally over his refusal to accept the need for the Moog synthesizer in lieu of his preferred Hammond organ — the band welcomed Rick Wakeman into its ranks. His use of the Moog, among other instruments, coupled with an overall bolder and more aggressive style of playing, opened the way for a harder, hotter sound by the group as a whole; bassist Chris Squire sounds like he’s got his amp turned up to “12,” and Steve Howe’s electric guitars are not far behind, although the group also displayed subtlety where it was needed. The opening minute of “Roundabout,” the album opener — and the basis for the edited single that would reach number 13 on the Billboard charts and get the group onto AM radio in a way that most other prog rock outfits could only look upon with envy — was dominated by Howe’s acoustic guitar and Bill Bruford‘s drums, and only in the middle section did the band show some of what they could do with serious amperage. Elsewhere on the record, as on “South Side of the Sky,” they would sound as though they were ready to leave the ground (and the planet), between the volume and intensity of their playing. “Long Distance Runaround,” which also served as the B-side of the single, was probably the most accessible track here apart from “Roundabout,” but they were both ambitious enough to carry most listeners on to the heavier sides at the core of this long player. The solo tracks by the members were actually a necessity: they needed to get Fragile out in a hurry to cover the cost of the keyboards that Wakeman had added to the group’s sonic arsenal. But they ended up being more than filler. Each member, in effect, took a “bow” in mostly fairly serious settings, and Squire’s “The Fish” and Howe’s “Mood For a Day” pointed directly to future, more substantial projects as well as taking on a life of their own on-stage. If not exactly their peak, Fragile was as perfect a record as the group would ever make, and just as flawless in its timing as its content.

Tracklist:
01 – Roundabout
02 – Cans And Brahms (Extracts From Brahms’ 4th Symphony In E Minor, Third Movement)
03 – We Have Heaven
04 – South Side Of The Sky
05 – Five Per Cent For Nothing
06 – Long Distance Runaround
07 – The Fish (Schindleria Praematurus)
08 – Mood For A Day
09 – Heart Of The Sunrise

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Yes – Time And A Word (1970/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 39:59 minutes | 1,77 GB
Official Digital Download – Source: HDTracks.com | Front cover

For this, their second album for Atlantic Records, Jon Anderson, Chris Squire, Tony Kaye, Bill Bruford and Peter Banks pulled together one of the most cohesive albums in their early seventies output. Featuring many of their fan and radio favorites as “Sweet Dreams”, “Time And A Word” and the amazing prog rock classic “Astral Traveller”, Time And A Word is another great instalment in this band’s iconic legacy.

Yes’ second (and least successful) album was a transitional effort; the group trying for a more produced and sophisticated sound through the use of an orchestra. Even so, the results weren’t conventional, because the group didn’t tone down or turn down its sound. Much of Time and a Word relies on bold, highly animated performances by Bill Bruford, Chris Squire, and Tony Kaye. Additionally, by this time the group was developing a much tauter ensemble than was evident on their first LP, so there’s no lack of visceral excitement. “No Opportunity Necessary, No Experience Needed” was a bold opening, a highly amplified, frenzied adaptation of the Richie Havens song, melded with Jerome Moross’s title music from the movie The Big Country. Somewhat more successful musically is “Then,” which keeps the orchestral accompaniment to a minimum and allows Kaye and Banks to stretch out on organ and guitar. “Everydays” is highlighted by Anderson’s ethereal vocals and Kaye’s dueting with the orchestra. A surprising amount of the material here seems rather tuneless, but the group was solidifying its sound and, in the process, forcing Banks out of the lineup, despite some beautiful moments for him (and Tony Kaye) on the prettiest parts of “The Prophet,” a piece that also contains fragments of music that anticipate Yes’ work right up through Tales from Topographic Oceans. “Astral Traveller,” as a title, anticipates the themes of future group work, though they still don’t have the dexterity to pull off the tempo changes they’re trying for. By the time the record was completed, Banks was out of the band, which is why Steve Howe, his successor, ended up pictured on the cover of most editions.

Tracklist:
01 – No Opportunity Necessary, No Experience Needed
02 – Then
03 – Everydays
04 – Sweet Dreams
05 – The Prophet
06 – Clear Days
07 – Astral Traveller
08 – Time And A Word

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Young The Giant – Mind Over Matter (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 53:03 minutes | 1,14 GB
Official Digital Download – Source: HDTracks.com | Front cover

For their highly anticipated second album Mind Over Matter Young the Giant enlisted Grammy-nominated producer Justin Meldal-Johnsen – known for his work with such diverse artists as Beck, Nine Inch Nails, Paramore, and M83. Featuring the electrifying lead single “It’s About Time,” the collection of songs finds the young band challenging themselves both lyrically and musically.
Mind Over Matter follows the band’s debut, Young the Giant which featured singles as ‘Apartment’ and the RIAA gold certified smashes, ‘My Body’ and ‘Cough Syrup.’ ‘My Body’ was a top 5 hit at Alternative radio and closed 2011 as the year’s fifth most-played song at the format. ‘Cough Syrup’ drew even greater success, peaking at #2 at Alternative, and enjoying crossover chart success at both Hot AC and Triple A radio. ‘Cough Syrup’ remains in regular rotation at radio outlets nationwide and was recently performed on the season premiere of NBC’s top-rated show “The Voice.”

On their hotly anticipated sophomore album, Mind Over Matter, Orange County modern rockers Young the Giant skate even closer toward the big-budget glitz their 2011 debut promised. Propelled by the success of their breakout hit, “Cough Syrup,” they’ve made the jump to Warner subsidiary Fueled by Ramen, home to acts like Panic! At the Disco and Paramore, a seemingly more relatable roster than at their former home, the metal-centric Roadrunner Records. For Mind Over Matter, producer Justin Meldal-Johnsen has amped up the group’s chiming, angular riffs and compressed the shimmering synths to present an able, straightforward modern indie rock record. Songs like the lead single “It’s About Time” and “In My Home” aim to please by generally rocking hard and emoting enthusiastically, though they often struggle to really make an impact. The music is well played and the songs dynamic, but the type of mainstream guitar/synth rock Young the Giant pursue is littered with similar acts, making it tough to rise above the din. Comparisons to stadium-filling bands like Coldplay and Phoenix are not out of line, but there is a general lack of distinction to much of the music on Mind Over Matter, suggesting that the band still hasn’t discovered its defining characteristics. On the neon synth-soul of the album’s title cut, frontman Sameer Gadhia sings of being “a young man after all,” so perhaps Young the Giant’s most unique ideas are still in front of them. The band is at its best on some of the album’s lighter cuts. “Firelight” pairs a beautifully haunting melody over a subtle blend of fingerpicked electric guitars and the glimmering midtempo pop of “Waves” glows with melody and charm. They’ve found a capable formula that will appeal to many, but some more personality would go a long way to seal the deal.

Tracklist:
01 – Slow Dive
02 – Anagram
03 – It’s About Time
04 – Crystallized
05 – Mind Over Matter
06 – Daydreamer
07 – Firelight
08 – Camera
09 – In My Home
10 – Eros
11 – Teachers
12 – Waves
13 – Paralysis

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