Epic (2013)

Glories is a five man post-rock collective from Birmingham, Alabama. This debut studio album, called "Mother Reverb", features new versions of two of the songs from the early EP and four previously unreleased tracks. The melodies are sweet, the arrangements are sumptuous, the crescendos are epic, and the spaces in between are filled with delicate and reflective moments. The album opens with the plaintive refrains of a track that appeared on the early EP, ‘Mechanical Mariner’. Within several minutes the first satisfying crescendo kicks in and while the template laid down by Explosions in the Sky is faithfully followed, there are new dynamics layered on thanks to the band having two guitarists and a keyboard player and their own melodic voice which has just a slightly southern Gothic feel to it…

NOVELA is perhaps one of the most popular and pivotal rock bands in Japan. Between 1980 and 1987 they delivered many albums. The sound on the first records was 'heavy progressive', later NOVELA turned more into a harder-edged rock band. NOVELA featured two known 'progrock legends': keyboard virtuoso Toshio Egawa (later Gerard and Sheherazade) and multi-instrumentalist Terutsugu Hirayama (he founded TERU'S SYMPHONIA).

Jordan: The Comeback is Prefab Sprout's largely successful attempt to embrace the breadth of popular music; wisely reuniting with producer Thomas Dolby, Paddy McAloon freely indulges his myriad ambitions and obsessions to weave a dense, finely textured tapestry closer in spirit and construction to a lavish Broadway musical than to the conventional rock concept LP. Over the course of no less than 19 tracks, McAloon chases his twin preoccupations of religion and celebrity, creating a loose thematic canvas perfect for his expanding musical palette; quickly dispensing with common pop idioms, the album moves from tracks like the samba-styled "Carnival 2000" to the self-explanatory "Jesse James Symphony" and its companion piece "Jesse James Bolero" with remarkable dexterity.

Almost 10 years after her debut album Norwegian saxophonist and composer Frøy Aagre releases her fourth album, the most ambitious, epic and diverse album in her career. The album marks a distinct stylistic change in Aagre´s music with the entry of electronic sounds and influence from pop and electronica. The music is warm, challenging and inventive, it is a masterful mix of genres performed with musical energy and enthusiasm.

Cannonball Adderley - Somethin' Else (1958) {2013 Japan SHM-CD Blue Note 24-192 Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 420 Mb | MP3 @320 -> 128 Mb
Full Artwork @ 600 dpi (png) -> 239 Mb | 5% repair rar | 24-bit 192 kHz remaster
© 1958, 2013 Universal Japan / Blue Note | BN 75th The Masterworks | TYCJ-81002
Jazz / Hard Bop / Saxophone

Reissue. Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24bit remastering. Includes an alternate take of "Autumn Leaves" for the first time in the world. Cannonball Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, eventually resulting in some of the greatest jazz recordings of all time (including Milestones and Kind of Blue). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting session is indeed Somethin' Else.

Jordan: The Comeback is Prefab Sprout's largely successful attempt to embrace the breadth of popular music; wisely reuniting with producer Thomas Dolby, Paddy McAloon freely indulges his myriad ambitions and obsessions to weave a dense, finely textured tapestry closer in spirit and construction to a lavish Broadway musical than to the conventional rock concept LP. Over the course of no less than 19 tracks, McAloon chases his twin preoccupations of religion and celebrity, creating a loose thematic canvas perfect for his expanding musical palette; quickly dispensing with common pop idioms, the album moves from tracks like the samba-styled "Carnival 2000" to the self-explanatory "Jesse James Symphony" and its companion piece "Jesse James Bolero" with remarkable dexterity.

The world of pop music was hardly ready for the Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety…