SACD / DSD – HDMusic.icu

Frederic Chopin – Arthur Rubinstein – Ballades and Scherzos
SACD ISO (2.0/MCH): 3,09 GB | 24B/88,2kHz Stereo FLAC: 1,23 GB | Full Artwork | 3% Recovery Info
Label/Cat#: RCA Red Seal “Living Stereo” # 82876-61396-2 | Country/Year: Europe 2004, 1959
Genre: Classical | Style: Romantic, Piano

If you like Artur Rubinstein’s Chopin, then this is a disc to get.
The sound here is slightly better than that on the Rubinstein Collection, but still better. Can only hope for more Chopin here in the future.

This is from the “Living Stereo” series by RCA, now re-released on SACD. The original 2 or 3 track analog masters were used. The multichannel tracks use the front 3 channels only. The stereo presented is the original mix, no remixing. The sound is great. You can hear Rubenstein breathing, and even some of his fingers hitting the keys are audible. The piano benefits from the SACD treatment…no tininess in the upper register. There are a few extraneous noises I can’t explain, but they are in no way obtrusive.

The performances are heavenly. Rubenstein, Polish himself, was a lifelong exponent of Chopin, in his full romantic expression. I can always reccomend Rubenstein when listening to any Chopin. Others are also wonderful (Ashkenazy, Perahia), but you simply MUST have some Rubenstein. Buy this SACD, get a good glass of your favorite spirit, put on your best headphones and feel the music. You will then be doing a search on Amazon for Rubenstein….trust me!

I bought the 20-bit reincarnation (1999 mix in the Rubinstein collection) of this recording just two months before the release of the SACD version, so I had to compare them. The SACD is better. It is smoother and warmer than the 20-bit version. More importantly, the SACD is also CHEAPER! It’s hard to beat Rubinstein’s interpretation of the Ballades. These must be incredibly difficult to play and interpret well. It is easy to over interpret them. I have Wild’s, Zimerman’s, Perahia’s, amongst others. Rubinstein’s seems to be the one that is just about right…not overdone..not too fast… etc. I strongly recommend this SACD for anyone who loves Chopin.

Starting with Ballade no.1 I thought Perahia was even more dramatic and was thinking well Rubenstein was born in 1887 so was over 70 when he made these recordings. Well straight on to number 2 and he was even more fiery than Perahia in the tempestuous outer sections!

Everyone will have favourite recordings (Perahia in the Ballades, Richter or Arrau in the Scherzi)but the more you listen to Rubenstein the more you understand his reputation as a Chopin magician.

The only tempo I would quibble with is the beautiful slow section in the middle of the First Scherzi (based if I recall correctly on an old Polish carol?)- I wish it was even slower.

The piano has a big, bold sound though it is slighlty clattery and of course doesn’t have the depth and resonance of a modern DSD recording. sa-cd.net

SACD Info:

Frederic Chopin – Arthur Rubinstein – Ballades and Scherzos

Label: RCA Red Seal
Series: Living Stereo
Catalog#: 82876-61396-2
Format: Hybrid-SACD, Album, Reissue, Stereo, Multichannel
Country: Europe
Released: 2004, 1959
Genre: Classical
Style: Romantic, Piano

Tracklist:

1. Ballade No.1 in G Minor, Op.23 – (9:22)
2. Ballade No.2 in F, Op.38 – (6:42)
3. Ballade No.3 in A-Flat, Op.47 – (7:19)
4. Ballade No.4 in F Minor, Op.52 – (10:49)
5. Scherzo No.1 in B Minor, Op.20 – (9:07)
6. Scherzo No.2 in B-Flat Minor, Op.31- (9:46)
7. Scherzo No.3 in C-Sharp Minor, Op.39- (7:17)
8. Scherzo No.4 in E, Op.54 – (10:58)

ISO

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FLAC

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Info+Art

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The imaginative debut recording of Haftor Medboe Group who excel in creating deep grooves and delicate textures through bold and vibrant sax lines combined with trombone, guitar and percussion…

Diversity and innovation in music often comes when tender characters are cooking and swinging. Guitarist Haftor Medboe from Norway, mixes up different cultures, bringing into his new release the sundry voices of Scottish saxophonist Susan Mckenzie, Australian trombonist Chris Greive and Icelandic percussionist Signy Jakobsdottir. To this line up he has also added the famous Edinburgh String Quartet and Kenny MacDonald’s electronic knowledge.

“In Perpetuity” is the second album of the Medboe quartet. Recorded in Scotland (precisely in Edinburgh in 2004), this album fetches a jazzy, electro-funky rhythm coupled with an embroiled string section. Each voice is wonderfully heard and the arrangements are out-inspired.

Haftor Medboe’s release conveys stunning moments of classical and jazz hitched onto Metheny , Frisell and Reich-like influences. Furthermore, the album is sonically produced, outlandish and finicky.

Medboe is without a doubt a gifted guitarist able to paint soundscapes with his many different palettes. His cohort’s input is worth listening to. Susan Mckenzie’s soprano sounds easy and lurid in whatever water she is testing, as on Little Auk, Charivari and Teetotum’s introduction. Chris Greive’s languid trombone is accurate and poignant as on Little Auk and Spor. His horn is always marshalling with high skill punctuations. On Little Auk, Medboe showcases the lofty, well-demeanoured strings, all at the hands of a grounded Signy Jakobsdottir’s percussion. Guitar and percussion endorsements are impressive on Charivari.

Teetotum comes together in a dialogue, out of which kicks off a rising up upon the string background, providing intensification to this theme. “In Perpetuity” allows every section to burnish, both in the troupe’s work and being self-assured by Haftor Medboe’s proficient arranging abilities, and for solos, which take on the guitar. The Edinburgh String Quartet and Kenny MacDonald’s endowments are awesome from Little Auk to Maikro.

A dazzling venture into contemporary jazz!

Tracklist:

01. Little Auk
02. Spor
03. Charivari
04. In Perpetuity
05. Hop Skip
06. Teetotum
07. Maikro

Produced by Calum Malcolm & Haftor Medboe.
Engineered by Paul Ferguson and David Hook.
Recorded in various locations in the Spring of 2005.
Mixed and mastered in North Berwick, Scotland on the 27th May, 2005.

The Haftor Medboe Group is:
Haftor Medboe – electric and acoustic guitars
Susan McKenzie – soprano sax and melodica
Chris Greive – trombone
Signy Jakobsdottir – percussion
> with The Edinburgh Quartet – strings

ISO

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FLAC

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This UK-based duo comprises childhood friends Mark Blackburn and Julius Walters, whose quirky sound could be loosely described as mid-tempo dance music, featuring live instrumentation, occasional vocals alongside electronics and samples.

Versebridgechorus is the second full-length album from downbeat, relaxed groovers, Kinobe, best known for their chill-out anthem “Slip Into Something More Comfortable” which appeared on countless compilations and even a well-known beer commercial. Versebridgechorus is just as easily paced as their debut Soundphilles but has a great deal more acoustic instrumentation and soothing vocals like the opening track “Butterfly”. A standout tune to rival their previous aforementioned standard is “Having A Moment”, a slinky wah-guitar groove that drifts along under the sound of running water without becoming a new age cliché. With a wealth of downbeat electronica being released in 2001 from new, aspiring artists, it is important to remember that past-masters Kinobe were there some time ago.

Tracklist:
01. Butterfly
02. Having a Moment
03. Secret Garden
04. Summer in the Studio
05. Mama’s Girl
06. Tooth and Nail
07. Slave One
08. Minus 4
09. The Woodsman and the Wolf
10. The G# Spot
11. Neon Tetra
12. Unfair Weather

ISO

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FLAC

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Arthur Rubinstein – Saint-Saens / Liszt / Franck
Symphony of the Air, Alfred Wallenstein, conductor
SACD ISO (2.0/MCH): 2,03 GB | 24B/88,2kHz Stereo FLAC: 956 MB | Full Artwork
Label/Cat#: RCA “Living Stereo” # 88697-08279-2 | Country/Year: Europe 2007 | 3% Recovery Info
Genre: Classical | Style: Romantic

Arthur Rubinstein had performed Saint-Saens Piano Concerto No. 2 in G minor, Op. 22 many times throughout his concert career; in fact, this was one of the pieces on the program of his first public concert given in 1900. The style in which he plays it is simply captivating. It’s not a serious concerto in the German-school, but rather a light-hearted and somewhat amusing concerto. This is probably the most famous recording of the composition, and it’s no wonder why.

The Symphonic Variations of Cesar Franck are fantastic, full of energy, vitality and French-Romantic beauty.

SACD Info:

Arthur Rubinstein – Saint-Saens / Liszt / Franck

Symphony of the Air, Alfred Wallenstein, conductor

Label: RCA Red Seal
Series: Living Stereo
Catalog#: 88697-08279-2
Format: Hybrid-SACD, Album, Reissue, Stereo, Multichannel
Country: Europe
Released: 2007, recorded 1956 & 1958
Genre: Classical
Style: Romantic

Tracklist:

1-3 Saints-Saens
Concerto No. 2 in G minor, Op. 22

4-5 Franck
Symphonic Variations

6-9 Liszt
Concerto No. 1 in E flat

ISO

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FLAC

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Info+Art

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Marcelo Raúl Álvarez is an Argentine lyric tenor who achieved international success starting in the mid-1990s, and at the end of the twentieth century, become an international opera star. This release from Sony Classical features the works of Massenet, Offenbach, Donizetti, Gounod, Verdi, Meyerbeer, and Rossini.

This is a very satisfying recital, one that avoids the usual same-voice-for-an-hour tedium by dint of Marcelo Alvarez’s ability to color his tone and words with elegance, energy, and intelligence. The voice is a real lyric tenor; the notes above the staff are a correct extension of the ones below, and there is no change in tone from the voice’s top to its bottom. The CD gets off to a beautiful start with one of the most affecting readings of Werther’s “Pourquoi me reveiller” Alvarez caresses the word “caresses” with real feeling, and without resorting to any cheap tricks. In fact, one of the glories of this disc is Alvarez’s refusal to add sobs and unnecessary emphases to his words; he allows the innate plangency of his tone to spin out freely, and the attention he gives not just to the individual aria but to the character himself could stand as a lesson to other, better-known tenors.

He differentiates the two sections of Hoffmann’s “Kleinzach” aria splendidly; his Tonio in ”Fille du Regiment” is as vital as his Werther is morbid (and the nine high-Cs are all in place); he sounds truly despairing as Fernand in ”Favorite”; and the two arias from ”Manon” show the two sides of des Grieux with great clarity. The crown in the recital is Arnold’s long scene from the last act of Guillaume Tell (for which Sony also wisely provides a chorus, whereas it doesn’t in the Fille scene where it would have been equally welcome). Here he comes closest to heroic, singing with firm, full tone and tossing off the outlandish high notes with ease and capping it with a high C that goes on, handsomely, for what seems like days. I wish he hadn’t rushed through “Ah, leve-toi soleil” (and had attempted a sweet ending, as written), and breathing before the ascent to Faust’s C in “presence” is an unmusical no-no–but just being able to nit-pick on such a level implies how otherwise remarkable his work here is. Mark Elder and his Nice Orchestra and Chorus are all wonderful. Great tenorizing here!
— Robert Levine, ClassicsToday.com

Tracklist:
01. Massenet: “Pourquoi me réveiller” from Werther
02. Offenbach: “Il était une fois à la cour” from Les Contes de Hoffman
03. Offenbach: “O dieu, de quelle ivresse” from Les Contes de Hoffman
04. Donizetti: “Ah, mes amis…Pour mon âme” from La Fille du Régiment
05. Gounod: “L’amour, l’amour…Ah! Lève-toi, soleil” from Roméo et Juliette
06. Donizetti: “Seul sur la terre” from Dom Sébastien
07. Massenet: “Je suis seul!…Ah fuyez, douce image” from Manon
08. Donizetti: “La maîtresse du roi?…Ange si pur” from La Favorite
09. Massenet: “Alors, c’est bien ici…Je ne sais si je veille…O nature pleine de grâce” from Werther
10. Verdi: “Fontainebleau! Forêt immense…Je l’ai vue et dans son sourire” from Don Carlos
11. Massenet: “En fermant les yeux…c’est un rêve” from Manon
12. Gounod: “Salut demeure chaste et pure” from Faust
13. Meyerbeer: “Ah! quel spectacle…Plus blanche que la blanche hermine” from Les Huguenots
14. Rossini: “Ne m’abandonne point…Asile hereditaire…Vengeance! vengeance…Plus de crainte inutile” from Guillaume Tell

Produced by Grace Row.
Recorded at Jedrinsky Hall, Nice, France, 2001.

Performers:
Marcelo Álvarez – tenor
Orchestre Philharmonique De Nice
The Chorus of The Opéra De Nice
Mark Edler – conductor

ISO

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FLAC

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Anton Bruckner – Symphony D minor “Nullte” WAB 100, 3 Pieces WAB 97, March WAB 96
Beethoven Orchester Bonn / Stefan Blunier
SACD ISO: 3,49 GB (Stereo + MCH DSD) | FLAC @ 24bit/88.2kHz: 1,01 GB | Full Artwork | 3% Rec. Info
Label/Cat#: MDG “Live” # 937 1673-6 | Country/Year: Germany 2011
Genre: Classical | Style: Romantic, Orchestral

This is a new recording of Bruckner’s ubiquitously numbered “0” symphony which is a fine work in its own right. Bernard Haitink included the work in his cycle of symphonies for Philips and Sir Georg Solti also recorded a fine interpretation with the Chicago Symphony Orchestra some years back.

Stefan Blunier and his Bonn Orchestra are quite the real deal, having recorded various romantic symphonic works for the German label, MD&G. They play with an unabashed know-how of the music lending brazen authority to the loud fanfares which Bruckner integrates into the symphony. The opening Allegro is particularly enthusing while the Finale is also taken at a rather brisk pace with great momentum. All in all this is a pleasing performance of this symphony which is well worth investigating.

The disc also includes some fine rarities in the form of a March in D minor and Three Pieces lasting around eight minutes. These are winningly done by the Beethoven Orchestra Bonn and are almost worth the price of the disc alone. An excellent recording and fastidiously detailed notes make up a package which is surely well worth investigating on all counts.

This SACD is an essential purchase for Bruckner aficionados, as not only does it contain an eloquent performance of Bruckner’s early D minor Symphony WAB 100 (Nullte) in superb sound, but also some other rare orchestral music by the same composer.

Though written in 1869 after both his ‘official’ Symphony No.1 in C minor and the even earlier Study Symphony in F minor, the composer, displaying his usual lack of confidence in his compositions, declared the work ‘not worthy’ so it was never assigned a number by him. Fortunately he did not destroy the score, but eventually willed it to the Linz Regional Museum and it received its first performance in 1924.

Nowadays it is usually referred to as Symphony 0 whilst the Study Symphony is called Symphony 00. Peculiar as this numbering may seem, it does keep the symphonies in the correct chronological order. The thematic catalogue of Bruckner’s music, ‘Werkverzeichnis Anton Bruckners’ (WAB), attempts to clarify this even further, and in the case of the symphonies the WAB number is 100+ the published number.

This symphony is such an immediately attractive work that its neglect in the concert hall is to be regretted, and, with the benefit of hindsight, one wishes that it had taken its rightful place in the canon of the composer’s numbered symphonies. Fortunately its dissemination on record has been more successful and many conductors with a special affinity to Bruckner’s music have committed it to disc. These include fine performances from Haitink, Barenboim and Skrowaczewski to which this distinguished account can now be added.

Having been mightily impressed with Stefan Blunier’s expansive performance of Franz Schmidt’s 4th Symphony /showreviews/6576#7259 I was eager to hear how his Bruckner would sound, and was not disappointed. In the earlier recording Blunier showed that he was adept at sustaining the natural unfolding of a symphonic work over a long span, and once again this proves to be the case.

The heavy tramp of the lower strings with which the first movement begins will, even to the innocent ear, immediately suggest Bruckner as the composer, while the gentler theme that follows will surely confirm it. Blunier handles the rapidly changing moods of this movement with great skill. His tempi are generally very measured, allowing the climaxes to build thrillingly with notably rich string tone and magnificently played brass chorales. The serene slow movement flows at a commodious tempo, certainly much closer to ‘Adagio’ than ‘Andante’, but thanks to the exquisite and totally committed playing that the conductor elicits from his fine Bonn orchestra it just about convinces, though perhaps his pause of a full 14 seconds silence towards the end of this movement may be too much for some listeners to take.
The Scherzo is launched with tremendous energy and verve making the contrast with the preceding movement’s mood even greater. The Finale, that surprisingly contains passages reminiscent of Mendelssohn, is also played with great vigour and Bruckner’s contrapuntal writing emerges with both strength and clarity.

At 50’11” Blunier’s performance lasts about five minutes longer than the average time of other versions and some may feel that he tries to inflate this music to something beyond its worth, but for this listener his spacious interpretation was entirely convincing and gave the music a stature entirely lacking in, for example, Solti’s CD recording that dispatched the piece in a mere 38’ 13”!

The four brief fill-ups to the symphony date from 1862 and represent some of Bruckner’s earliest orchestral writing. Though not especially memorable or representative of the composer’s later music they do possess a winning fluency and are worth hearing for their pointers to the composer’s development. The jaunty five-minute D minor March (WAB 96) has a robust charm, while a gentle lilting central section provides contrast before the reprise of the march. Each of the three pieces (WAB97) that follow is even briefer. The nobility and grandeur of the E flat Moderato is followed by two wistful Andantes, the first of which feature lovely solos for oboe and horn. All four pieces could be easily mistaken for the Schubert of the early symphonies or ‘Rosamunde’, but their excessive brevity will always make them little more than a curiosity.

MDG’s multi-channel recording is very fine indeed. It has a wide dynamic range and captures both the orchestra’s hushed string playing and incisive brass with equal success in an airy and generous acoustic. Though these are live performances (from 25-27 May 2010) there is neither audience noise nor applause.

Strongly recommended.

SACD Info:

Anton Bruckner – Symphony D minor “Nullte” WAB 100, 3 Pieces WAB 97, March WAB 96

Beethoven Orchester Bonn / Stefan Blunier

Label: MDG
Series: Live
Catalog#: 937 1673-6
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Germany
Released: 2011
Genre: Classical
Style: Romantic

Tracklist:

1 Symphony No 0, WAB 100 (1869) – I.Allegro – Poco meno mosso 18:09
2 Symphony No 0, WAB 100 (1869) – II.Andante sostenuto 14:52
3 Symphony No 0, WAB 100 (1869) – III.Scherzo. Presto – Trio 7:02
4 Symphony No 0, WAB 100 (1869) – IV.Finale. Moderato – Allegro vivace 10:07
5 March, WAB 96 (1862) 4:51
6 Three Pieces WAB 97 (1862) – Moderato E flat major 2:24
7 Three Pieces WAB 97 (1862) – Andante E minor 2:24
8 Three Pieces WAB 97 (1862) – Andante con motto F major 3:17

ISO

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FLAC

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Info+Art

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Theatre of Voices, Paul Hillier – Stories: Berio And Friends
SACD ISO (2.0/MCH): 3,50 GB | 24B/88,2kHz Stereo FLAC: 1,04 GB | Full Artwork | 3% Recovery Info
Label/Cat#: Harmonia Mundi USA # HMU 807527 | Country/Year: Europe 2011
Genre: Classical | Style: Contemporary, Experimental

This collection of works for unaccompanied voices is bookended by works by singer Cathy Berberian and composer Luciano Berio, who were once married to each other. John Cage’s Story is a movement of his percussion quartet Living Room Music, while Young Turtle Asymmetries is by Cage’s pupil Jackson Mac Low and Roger Marsh’s Not a Soul But Ourselves is set to a text by James Joyce. Usually done solo, Berberian’s Stripsody, with its score consisting solely of cartoons, is sung here by a trio and must be heard to be believed.

“There’s also plenty of humor in the Cage, which gets a little bit of swing in this performance, making it a very catchy number, and in Sheldon Frank’s ‘As I was Saying.’ The group’s director, Paul Hillier, takes a solo on the latter, hamming it up with a low-rent accent in this compilation of the sounds people make when they’re vamping.”—Opera News

“Burps, sighs and coughs. Hisses, purrs and groans. Giggles, barks, polyglot whispers and the chaste-sexy shreds of madrigals and motets cast a spell in Theatre of Voices’s performance of ‘A-ronne’. Luciano Berio’s virtuosic 1974 quintet opens a disc that explores extended vocal techniques and narrative, and closes with Cathy Berberian’s rapacious ‘Stripsody’ (1966). John Cage’s ‘Story’ (1940), meanwhile, anticipates the Sugarhill Gang in its playful rhythms.”—The Independent

SACD Info:

Theater of Voices – Paul Hillier – Stories: Berio And Friends

Label: Harmonia Mundi USA
Catalog#: HMU 807527
Format: Hybrid-SACD, Album, Stereo, Multichannel
Country: Europe
Released: 2011
Genre: Classical
Style: Contemporary, Experimental

Tracklist:

1 Luciano Berio     A-Ronne 27:17
2 John Cage     Story 4:54
3 Jackson Mac Low     Young Turtle Assymetries 3:18
4 Roger Marsh     Not A Soul But Ourselves 14:57
5 Sheldon Frank     As I Was Saying 4:52
6 Cathy Berberian     Stripsody 11:20

Made in Austria

ISO

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FLAC

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Info+Art

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The stage was set for the Police to become one of the biggest acts of the ’80s, and the band delivered with the 1980 classic Zenyatta Mondatta. The album proved to be the trio’s second straight number one album in the U.K., while peaking at number three in the U.S. Arguably the best Police album, Zenyatta contains perhaps the quintessential new wave anthem, the haunting “Don’t Stand So Close to Me,” the story of an older teacher lusting after one of his students. While other tracks follow in the same spooky path (their second Grammy-winning instrumental “Behind My Camel” and “Shadows in the Rain”), most of the material is upbeat, such as the carefree U.S./U.K. Top Ten “De Do Do Do, De Da Da Da,” “Canary in a Coalmine,” and “Man in a Suitcase.” Sting includes his first set of politically charged lyrics in “Driven to Tears,” “When the World Is Running Down, You Make the Best of What’s Still Around,” and “Bombs Away,” which all observe the declining state of the world. While Sting would later criticize the album as not all it could have been (the band was rushed to complete the album in order to begin another tour), Zenyatta Mondatta remains one of the finest rock albums of all time.

Tracklist:
01. Don’t Stand So Close To Me
02. Driven To Tears
03. When The World Is Running Down, You Make The Best Of What’s Still Around
04. Canary In A Coalmine
05. Voices Inside My Head
06. Bombs Away
07. De Do Do Do, De Da Da Da
08. Behind My Camel
09. Man In A Suitcase
10. Shadows In The Rain
11. The Other Way Of Stopping

DSD flat transferred from UK original analogue master tapes by Richard Whittaker at FX Copyroom, London, in 2014.
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2014.

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By 1979’s Reggatta de Blanc (translation: White Reggae), nonstop touring had sharpened the Police’s original blend of reggae-rock to perfection, resulting in breakthrough success. Containing a pair of massive hit singles — the inspirational anthem “Message in a Bottle” and the spacious “Walking on the Moon” — the album also signaled a change in the band’s sound. Whereas their debut got its point across with raw, energetic performances, Reggatta de Blanc was much more polished production-wise and fully developed from a songwriting standpoint. While vigorous rockers did crop up from time to time (“It’s Alright for You,” “Deathwish,” “No Time This Time,” and the Grammy-winning instrumental title track), the material was overall much more sedate than the debut — “Bring on the Night,” “The Bed’s Too Big Without You,” and “Does Everyone Stare.” Also included was one of Stewart Copeland’s two lead vocal appearances on a Police album, the witty “On Any Other Day,” as well as one of the band’s most eerie tracks, “Contact.” With Reggatta de Blanc, many picked Sting and company to be the superstar band of the ’80s, and the Police would prove them correct on the band’s next release.

Tracklist:
01. Message In A Bottle
02. Reggatta De Blanc
03. It’s Alright For You
04. Bring On The Night
05. Deathwish
06. Walking On The Moon
07. On Any Other Day
08. The Bed’s Too Big Without You
09. Contact
10. Does Everyone Stare
11. No Time This Time

DSD flat transferred from UK original analogue master tapes by Richard Whittaker at FX Copyroom, London, in 2013.
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2013.

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Construction Time Again is the third studio album by English electronic music band Depeche Mode, released on 22 August 1983 by Mute Records.[1] This was the first Depeche Mode album with Alan Wilder as a full band member, who wrote the songs “Two Minute Warning” and “The Landscape Is Changing”, as well as the B-side “Fools”. The title comes from the second line of the first verse of the track “Pipeline”. It was supported by the Construction Time Again Tour.

The album was recorded at John Foxx’s Garden Studios in London, engineered by Gareth Jones (who had also engineered Foxx’s 1980 album Metamatic) and mixed at the Hansa Tonstudio in Berlin.

The full addition of Alan Wilder to Depeche Mode’s lineup created a perfect troika that would last another 11 years, as the combination of Martin Gore’s songwriting, Wilder’s arranging, and David Gahan’s singing and live star power resulted in an ever more compelling series of albums and singles. Construction Time Again, the new lineup’s first full effort, is a bit hit and miss nonetheless, but when it does hit, it does so perfectly. Right from the album’s first song, “Love in Itself,” something is clearly up; Depeche never sounded quite so thick with its sound before, with synths arranged into a mini-orchestra/horn section and real piano and acoustic guitar spliced in at strategic points. Two tracks later, “Pipeline” offers the first clear hint of an increasing industrial influence (the bandmembers were early fans of Einstürzende Neubauten), with clattering metal samples and oddly chain gang-like lyrics and vocals. The album’s clear highlight has to be “Everything Counts,” a live staple for years, combining a deceptively simple, ironic lyric about the music business with a perfectly catchy but unusually arranged blending of more metallic scraping samples and melodica amid even more forceful funk/hip-hop beats. Elsewhere, on “Shame” and “Told You So,” Gore’s lyrics start taking on more of the obsessive personal relationship studies that would soon dominate his writing. Wilder’s own songwriting contributions are fine musically, but lyrically, “preachy” puts it mildly, especially the environment-friendly “The Landscape Is Changing.” ~~ AllMusic Review by Ned Raggett

Tracklist:
01. Love, In Itself
02. More Than A Party
03. Pipeline
04. Everything Counts
05. Two Minute Warning
06. Shame
07. The Landscape Is Changing
08. Told You So
09. And Then…
10. Everything Counts (Reprise)

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Some Great Reward is the fourth studio album by English electronic music band Depeche Mode, released in 1984. The album peaked at number five in the United Kingdom and at number fifty-four in the United States. The title comes from the last lines of the bridge in “Lie to Me” when it repeats near the end. The album was supported by the Some Great Reward Tour.

The peak of the band’s industrial-gone-mainstream fusion, and still one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band’s ever-evolving musical and production skills matching even more ambitious songwriting from Martin Gore. “People Are People” appears here, but finds itself outclassed by some of Depeche Mode’s undisputed classics, most especially the moody, beautiful “Somebody,” a Gore-sung piano ballad that mixes its wit and emotion skillfully; “Master and Servant,” an amped-up, slamming dance track that conflates sexual and economic politics to sharp effect; and the closing “Blasphemous Rumors,” a slow-building anthemic number supporting one of Gore’s most cynical lyrics, addressing a suicidal teen who finds God only to die soon afterward. Even lesser-known tracks like the low-key pulse of “Lie to Me” and the weirdly dreamy “It Doesn’t Matter” showcase an increasingly confident band. Alan Wilder’s arrangements veer from the big to the stripped down, but always with just the right touch, such as the crowd samples bubbling beneath “Somebody” or the call/response a cappella start to “Master and Servant.” With Reward, David Gahan’s singing style found the métier it was going to stick with for the next ten years, and while it’s never gone down well with some ears, it still has a compelling edge to it that suits the material well. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. Something To Do
02. Lie To Me
03. People Are People
04. It Doesn’t Matter
05. Stories Of Old
06. Somebody
07. Master And Servant
08. If You Want
09. Blasphemous Rumours

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Black Celebration is the fifth studio album by English electronic music band Depeche Mode, released on 17 March 1986 by Mute Records. The album further cemented the darkening sound created by Alan Wilder which the band later used for the acclaimed and globally successful albums Music for the Masses, Violator and Songs of Faith and Devotion, sound that was initially hinted towards on their albums Construction Time Again and Some Great Reward.

Despite not being a commercial success at the time its official release, as the band said in 1998 during an interview available on The Videos 86–98 DVD, Black Celebration has been cited as one of the most influential albums of the 1980s.To promote the album, the band embarked on the Black Celebration Tour.

Three years after its release, Spin ranked it at number 15 in its list of “The 25 Greatest Albums of All Time.”

Whether the band felt it was simply the time to move on from its most explicit industrial-pop fusion days, or whether increased success and concurrently larger venues pushed the music into different avenues, Depeche Mode’s fifth studio album, Black Celebration, saw the group embarking on a path that in many ways defined their sound to the present: emotionally extreme lyrics matched with amped-up tunes, as much anthemic rock as they are compelling dance, along with stark, low-key ballads. The slow, sneaky build of the opening title track, with a strange distorted vocal sample providing a curious opening hook, sets the tone as David Gahan sings of making it through “another black day” while powerful drums and echoing metallic pings carry the song. Black Celebration is actually heavier on the ballads throughout, many sung by Martin Gore — the most per album he has yet taken lead on — with notable dramatic beauties including “Sometimes,” with its surprise gospel choir start and rough piano sonics, and the hyper-nihilistic “World Full of Nothing.” The various singles from the album remain definite highlights, such as “A Question of Time,” a brawling, aggressive number with a solid Gahan vocal, and the romantic/physical politics of “Stripped,” featuring particularly sharp arrangements from Alan Wilder. However, with such comparatively lesser-known but equally impressive numbers as the quietly intense romance of “Here Is the House” to boast, Black Celebration is solid through and through. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. Black Celebration
02. Fly On The Windscreen (Final)
03. A Question Of Lust
04. Sometimes
05. It Doesn’t Matter Two
06. A Question Of Time
07. Stripped
08. Here Is The House
09. World Full Of Nothing
10. Dressed In Black
11. New Dress

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Music for the Masses is the sixth studio album by English electronic music band Depeche Mode. It was released on 28 September 1987 by Mute Records, and was supported by the Music for the Masses Tour.

Initially the title must have sounded like an incredibly pretentious boast, except that Depeche Mode then went on to do a monstrous world tour, score even more hits in America and elsewhere than ever before, and pick up a large number of name checks from emerging house and techno artists on top of all that. As for the music the masses got this time around, the opening cut, “Never Let Me Down Again,” started things off wonderfully: a compressed guitar riff suddenly slamming into a huge-sounding percussion/keyboard/piano combination, anchored to a constantly repeated melodic hook, ever-building synth/orchestral parts at the song’s end, and one of David Gahan’s best vocals (though admittedly singing one of Martin Gore’s more pedestrian lyrics). It feels huge throughout, like they taped Depeche recording at the world’s largest arena show instead of in a studio. Other key singles “Strangelove” and the (literally) driving “Behind the Wheel” maintained the same blend of power and song skill, while some of the quieter numbers such as “The Things You Said” and “I Want You Now” showed musical and lyrical intimacy could easily co-exist with the big chart-busters. Add to that other winners like “To Have and to Hold,” with its Russian radio broadcast start and dramatic, downward spiral of music accompanied by Gahan’s subtly powerful take on a desperate Gore love lyric, and the weird, wonderful choral closer, “Pimpf,” and Depeche’s massive success becomes perfectly clear. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. Never Let Me Down Again
02. The Things You Said
03. Strangelove
04. Sacred
05. Little 15
06. Behind The Wheel
07. I Want You Now
08. To Have And To Hold
09. Nothing
10. Pimpf

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101 is a live album and documentary by English electronic band Depeche Mode released in 1989 chronicling the final leg of the band’s 1987/1988 Music for the Masses Tour and the final show at the Rose Bowl in Pasadena which was held on 18 June, 1988.

Group member Alan Wilder is credited with coming up with the name; the performance was the 101st and final performance of the tour (and coincidentally also the number of a famous highway in the area). The film was directed and produced by D.A. Pennebaker.

As an event, Depeche Mode’s huge (attendance around 60,000) Los Angeles Rose Bowl concert in 1988 remains legendary; no single artist show had totally sold out the venue since eight years beforehand, while the film documentary done by Dylan-filmer D.A. Pennebaker based around the show clearly demonstrated fans’ intense commitment to a near-decade-old band most mainstream critics continued to stupidly portray as a flash-in-the-pan synth pop effort. This start-to-final-encore record of the concert showcases a band perfectly able to carry its music from studio to stage as well as any other combo worth its salt should be able to do. Understandably focused on Music for the Masses material, the album shows Depeche experimenting with alternate arrangements at various points for live performance; big numbers like “Never Let Me Down Again,” “Stripped,” and “Blasphemous Rumors” pack even more of a wallop here. Slower numbers and more than a couple of ballads help to vary the hit-packed set, including a fine “Somebody” and “The Things You Said” combination sung by Martin Gore. “Pleasure Little Treasure,” on record an okay B-side, becomes a monster rocker live, the type of unexpected surprise one could expect from a solid band no matter what the music. With a triumphant set of closing numbers, including magnificent takes on “Never Let Me Down Again,” “Master and Servant,” and the set-ending “Everything Counts,” with what sounds like the entire audience singing the chorus well after the song has finally ended, 101 does far better at its task than most might have guessed. ~~ AllMusic Review by Ned Raggett

Tracklist:
CD1 #01. Pimpf
CD1 #02. Behind The Wheel
CD1 #03. Strangelove
CD1 #04. Sacred
CD1 #05. Something To Do
CD1 #06. Blasphemous Rumours
CD1 #07. Stripped
CD1 #08. Somebody
CD1 #09. Things You Said

CD2 #01. Black Celebration
CD2 #02. Shake The Disease
CD2 #03. Nothing
CD2 #04. Pleasure, Little Treasure
CD2 #05. People Are People
CD2 #06. A Question Of Time
CD2 #07. Never Let Me Down Again
CD2 #08. A Question Of Lust
CD2 #09. Master And Servant
CD2 #10. Just Can’t Get Enough
CD2 #11. Everything Counts

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Violator is the seventh studio album by English electronic music band Depeche Mode, released on 19 March 1990 by Mute Records.

Preceded by the hit singles “Personal Jesus” and “Enjoy the Silence” (a top-10 hit in both the UK and US), Violator propelled the band into international stardom. The album yielded two further hit singles, “Policy of Truth” and “World in My Eyes”. Violator is the band’s first album to reach the top 10 on the Billboard 200, peaking at number seven. It was supported by the World Violation Tour.

In a word, stunning. Perhaps an odd word to use given that Violator continued in the general vein of the previous two studio efforts by Depeche Mode: Martin Gore’s upfront lyrical emotional extremism and knack for a catchy hook filtered through Alan Wilder’s ear for perfect arrangements, ably assisted by top English producer Flood. Yet the idea that this record would both dominate worldwide charts, while song for song being simply the best, most consistent effort yet from the band could only have been the wildest fantasy before its release. The opening two singles from the album, however, signaled something was up. First was “Personal Jesus,” at once perversely simplistic, with a stiff, arcane funk/hip-hop beat and basic blues guitar chords, and tremendous, thanks to sharp production touches and David Gahan’s echoed, snaky vocals. Then “Enjoy the Silence,” a nothing-else-remains-but-us ballad pumped up into a huge, dramatic romance/dance number, commanding in its mock orchestral/choir scope. Follow-up single “Policy of Truth” did just fine as well, a low-key Motown funk number for the modern day with a sharp love/hate lyric to boot. To top it all off, the album itself scored on song after song, from the shuffling beat of “Sweetest Perfection” (well sung by Gore) and the ethereal “Waiting for the Night” to the guilt-ridden-and-loving-it “Halo” building into a string-swept pounder. “Clean” wraps up Violator on an eerie note, all ominous bass notes and odd atmospherics carrying the song. Goth without ever being stupidly hammy, synth without sounding like the clinical stereotype of synth music, rock without ever sounding like a “rock” band, Depeche here reach astounding heights indeed. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. World In My Eyes
02. Sweetest Perfection
03. Personal Jesus
04. Halo
05. Waiting For The Night
06. Enjoy The Silence
07. Policy Of Truth
08. Blue Dress
09. Clean

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Songs of Faith and Devotion is the eighth studio album by the English electronic music band Depeche Mode, released in the United Kingdom on 22 March 1993 by Mute Records and in the United States and Canada on 23 March by Sire and Reprise Records. The album incorporated a more aggressive, darker rock-oriented tone than its predecessor, Violator (1990), largely influenced by the emerging alternative rock and grunge scenes in the United States.

Upon its release, Songs of Faith and Devotion reached number one in several countries, and became the first Depeche Mode album to debut atop the charts in both the UK and the US. To support the album, Depeche Mode embarked on the fourteen-month-long Devotional Tour, the largest tour the band had ever undertaken to that date.

Recording the album and the subsequent tour exacerbated growing tensions and difficulties within the band, prompting Alan Wilder to quit, making this album the final with him as a band member. The ordeal had exhausted their creative output following the enormous success they had enjoyed with Violator, leading to rumours and media speculation that the band would split. Depeche Mode subsequently recovered from the experience, and released Ultra in 1997.

In between Violator and Songs of Faith and Devotion, a lot happened: Nirvana rewrote the ideas of what “alternative” was supposed to be, while Nine Inch Nails hit the airwaves as the most clearly Depeche-influenced new hit band around. In the meantime, the band went through some high-profile arguing as David Gahan turned into a long-haired, leather-clad rocker and pushed for a more guitar-oriented sound. Yet the odd thing about Songs of Faith and Devotion is that it sounds pretty much like a Depeche Mode album, only with some new sonic tricks courtesy of Alan Wilder and co-producer Flood. Perhaps even odder is the fact that it works incredibly well all the same. “I Feel You,” opening with a screech of feedback, works its live drums well, but when the heavy synth bass kicks in with the wailing backing vocals, even most rockers might find it hard to compete. Martin Gore’s lyrical bent, as per the title, ponders relationships through distinctly religious imagery; while the gambit is hardly new, on songs like the centerpiece “In Your Room,” the combination of personal and spiritual love blends perfectly. Outside musicians appear for the first time, including female backing singers on a couple of tracks, most notably the gospel-flavored “Condemnation” and the uilleann pipes on “Judas,” providing a lovely intro to the underrated song (later covered by Tricky). “Rush” is the biggest misstep, a too obvious sign that Nine Inch Nails was a recording-session favorite to unwind to. But with other numbers such as “Walking in My Shoes” and “The Mercy in You” to recommend it, Songs of Faith and Devotion continues the Depeche Mode winning streak. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. I Feel You
02. Walking In My Shoes
03. Condemnation
04. Mercy In You
05. Judas
06. In Your Room
07. Get Right With Me
08. Rush
09. One Caress
10. Higher Love

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Ultra is the ninth studio album by the English electronic band Depeche Mode, released on 14 April 1997 by Mute Records. The album was the band’s first since the departure of Alan Wilder, who had left the band in 1995 having become disillusioned with life in Depeche Mode. Wilder’s departure and lead singer Dave Gahan’s drug problems, which culminated in a near-fatal overdose, had caused many people to speculate that the band was finished.This is their first album as a trio since 1982’s A Broken Frame, along with it being their first album where the band themselves were not involved with production.

Ultra debuted at number one on the UK Albums Chart and at number five on the Billboard 200. By April 2006, the album had sold 584,000 copies in the United States.The project was initially conceived as an EP.

In 1999, Ned Raggett ranked the album at number 50 on his list of “The Top 136 or so Albums of the Nineties”. That same year, the annual Ultra Music Festival in Miami was named after the album by its co-founder Russell Faibisch,and acknowledging its influence on the Polish rock scene, Tylko Rock ranked it at number 71 in its list of “100 Albums That Shook Polish Rock.”

When news surfaced in 1995 that Alan Wilder had departed Depeche Mode to concentrate on his solo project Recoil, the immediate concern among fans was whether the band would be able to hit past heights again. Though Wilder’s profile was always much lesser than that of Martin Gore and David Gahan — and almost even that of Andy Fletcher, whose nonperformance live has always been a running joke in the fan community and who freely admits to generally being around merely to maintain a vibe with his childhood friend Gore — his capability at arranging the songs over the years gave the band its increasingly distinct, unique edge. Combined with Gahan’s near suicide and lengthy recovery from drugs, things looked bleak. Happily, Ultra turned out a winner; hooking up with Tim Simenon, longtime U.K. dance maven and producer of arty fare such as Gavin Friday’s Adam ‘n’ Eve, Depeche delivered a strong album as a rejuvenated band. The most immediate change was Gahan’s singing; for the first time ever, he took singing lessons beforehand, and his new control and projection simply shines, especially on the marvelous “It’s No Good,” a pulsing, tense, yet beautiful song with another deeply romantic Gore lyric. Opener “Barrel of a Gun” continues in the vein of arena-level stompers like “Never Let Me Down Again” and “I Feel You,” with huge drum slams and scratching to boot, but Ultra mostly covers subtler territory, such as the slightly creepy “Sister of Night” and the gentle “The Love Thieves.” Gore sings two winners: the orchestral, slow dance groove “Home” and “The Bottom Line,” featuring steel guitar and Can’s Jaki Liebezeit on drums, distinctly different territory for Depeche. Closing with “Insight,” a quite lovely, building ballad, Ultra showed Depeche wasn’t ready to quit by any means. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. Barrel Of A Gun
02. The Love Thieves
03. Home
04. It’s No Good
05. Uselink
06. Useless
07. Sister Of The Night
08. Jazz Thieves
09. Freestate
10. The Bottom Line
11. Insight
12. Junior Painkiller

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Exciter is the tenth studio album by the English electronic music band Depeche Mode, released in the United Kingdom on 14 May 2001 by Mute Records and in the United States on 15 May by Reprise Records. The album was produced by Mark Bell of Björk and LFO fame. The album also launched the Exciter Tour, one of the band’s most successful tours.

Exciter debuted at number nine on the UK Albums Chart and at number eight on the Billboard 200, selling 115,000 copies in its first week in the US.It is the only Depeche Mode album to debut higher in the US than in the UK. As of April 2006, Exciter had sold more than 426,000 copies in the US, and was certified Gold by the Recording Industry Association of America (RIAA). The album was also certified Gold in Canada for shipments of 50,000 units.The remastered album was released on “deluxe” vinyl 30 March 2007 in Germany and 1 October 2007 internationally.

The plant that appears on the cover is the agave attenuata, a species of agave sometimes known as the “lion’s tail”, “swan’s neck,” or “foxtail” for its development of a curved stem, unusual among agaves. It is used to produce tequila.

It’s rare to find bands capable of keeping their own best qualities to the fore while trying something new each time out, but Depeche Mode demonstrate that balance in full on the marvelous Exciter. Arguably the first album made by the group as a cohesive unit since Violator (and bearing some resemblance to that record in overall title and song names — compare “The Sweetest Condition” with “The Sweetest Perfection”), Exciter finds the trio again balancing pop catchiness with experimental depths. As with Ultra, an outside producer helps focus the end results in new, intriguing directions — in this case, said producer is Mark Bell, known for his work with Björk but also as part of Warp Records’ flagship act LFO, which always acknowledged their own debut to Depeche. Bell’s ear for minimal, crisp beats and quick, subtle arrangements and changes suit Martin Gore’s songs beautifully. If there are few storming arena-shaking numbers this time out, the exquisite delicacy throughout is addicting, with Gore’s guitar providing slippery and stinging leads to the smoky, romantic flow of Exciter. “When the Body Speaks” is a particular winner, his gentle work and a backing string section combining just right. David Gahan’s voice, already audibly benefiting from lessons on Ultra, is even more supple and passionate than before, ranging from the fuller delivery on the snaky charm of “Shine” to the haunting album-closer, “Goodnight Lovers,” a romantic lullaby with perfect counterpoint backing vocals. Gore’s own singing remains equally fine, as does his lyrical obsessions on, well, obsession — “Breathe,” which quotes more Bible names per verse than most preachers, makes for a good example on both fronts. When the band fully crank it up, the results work there too — “The Dead of Night” makes for a far superior nod to Gore’s glam roots and Depeche’s own industrial dance descendants than Songs of Faith and Devotion’s “Rush” did. ~~ AllMusic Review by Ned Raggett

Tracklist:
01. Dream On
02. Shine
03. The Sweetest Condition
04. When The Body Speaks
05. The Dead Of Night
06. Lovetheme
07. Freelove
08. Comatose
09. I Feel Loved
10. Breathe
11. Easy Tiger
12. I Am You
13. Goodnight Lovers

ISO

https://subyshare.com/37dk4j3ms5x4/SACD-ISO_2001ExciterDMCD102007RemasterSACDISO.part1.rar.html
https://subyshare.com/f10wenwt7x3k/SACD-ISO_2001ExciterDMCD102007RemasterSACDISO.part2.rar.html
https://subyshare.com/s18ur00gmbwg/SACD-ISO_2001ExciterDMCD102007RemasterSACDISO.part3.rar.html
https://subyshare.com/51hsjask21xe/SACD-ISO_2001ExciterDMCD102007RemasterSACDISO.part4.rar.html
https://subyshare.com/0ybveynpoom0/SACD-ISO_2001ExciterDMCD102007RemasterSACDISO.part5.rar.html

FLAC

https://subyshare.com/f1fp7fdf9y7o/FLAC-24-88.2_2001ExciterDMCD102007RemasterSACDISO.part1.rar.html
https://subyshare.com/5nk4nqsnp3pm/FLAC-24-88.2_2001ExciterDMCD102007RemasterSACDISO.part2.rar.html

Playing the Angel is the eleventh studio album by the English electronic music band Depeche Mode, released in the United Kingdom on 17 October 2005 by Mute Records and in the United States and Canada on 18 October by Sire Records and Reprise Records. It was supported by the Touring the Angel tour.

When Ultra was declared the best Depeche Mode album since Violator, those who said so must have forgotten about Songs of Faith and Devotion. When Exciter was declared the best Depeche Mode album since Violator, those who said so must have also forgotten about Songs of Faith and Devotion, in addition to having found a roundabout way of saying that it was merely better than Ultra. There’s no doubt this time: Playing the Angel is both the band’s best album since Violator and, more significantly, an album that is near Violator in stature. The biggest clue dropped by the band prior to its release was a quote from Dave Gahan, who said that being in Depeche Mode is better than it has been in 15 years. Some quick math reveals that Gahan was hinting at the Violator era, a time when the band’s creativity and popularity peaked synchronously. It also turns out that this is a time as good as any other to be paying attention to the band. Playing the Angel lacks Songs of Faith and Devotion’s end-to-end chest-beating, Ultra’s grinding murk, and Exciter’s desiccated patches. It takes the best qualities from those releases, combines them with a few subtle allusions to Violator — tiptoeing the border that separates retread from reinvention — and makes for a highly concentrated set of songs that all but demand to be heard in one uninterrupted shot. Gahan, still riding the confidence he gained as a songwriter from Paper Monsters, his 2003 solo debut, contributes three songs co-written with band associates Christian Eigner and Andrew Phillpott. Though none of them vie to be the album’s centerpiece, it’s apparent that the move wasn’t a concession of desperation on anyone’s part. The friendly competition seems to have kicked chief songwriter Martin Gore into high gear; he’s in top form. Musically, a lot of analog gear was used, and it’s apparent that the arrangements and extra sounds were less fussed over than they have been in the recent past. You get the sense that everything fell into place, as opposed to being forced or aimlessly manipulated. Despite the favoring of older gear, there’s no other year in which any of the songs could’ve been made. Like the best Depeche Mode, almost everything on the album will make an initial wowing impact while remaining layered enough in subtle details to surprise and thrill with repeated listens. It is not the kind of album a 25-year-old band is supposed to make. ~~ AllMusic Review by Andy Kellman

Tracklist:
01. A Pain That I’m Used To
02. John The Revelator
03. Suffer Well
04. The Sinner In Me
05. Precious
06. Macro
07. I Want It All
08. Nothing’s Impossible
09. Introspectre
10. Damaged People
11. Lilian
12. The Darkest Star

ISO

https://subyshare.com/jw723tqc5i62/SACD-ISO_2005PlayingTheAngelLCDStumm2602005DeluxeEditionSACDISO.part1.rar.html
https://subyshare.com/tyc6nn0m6iip/SACD-ISO_2005PlayingTheAngelLCDStumm2602005DeluxeEditionSACDISO.part2.rar.html
https://subyshare.com/7iotzlw2d2f0/SACD-ISO_2005PlayingTheAngelLCDStumm2602005DeluxeEditionSACDISO.part3.rar.html
https://subyshare.com/2aex5c07pcpf/SACD-ISO_2005PlayingTheAngelLCDStumm2602005DeluxeEditionSACDISO.part4.rar.html

FLAC

https://subyshare.com/v1mnv1kuflbb/FLAC-24-88.2_2005PlayingTheAngelLCDStumm2602005DeluxeEditionSACDISO.part1.rar.html
https://subyshare.com/0we05ieswift/FLAC-24-88.2_2005PlayingTheAngelLCDStumm2602005DeluxeEditionSACDISO.part2.rar.html

色々なジャンルの高音質の音楽サンプルを1枚に収めオーディオ機器のデモンストレーション用にAccuphaseがディ－ラーに配ったSACD。

Tracklist:
01. Richard Strauss – Symphonic Poem “Also Sprach Zarathustra” Op. 30
02. Claude Debussy – Children’s Corner: Golliwog’s Cakewalk
03. Johann Sebastian Bach – Partita No. 3 In E Major BWV.1006: 3 Gavotte En Roudeau
04. Rudolf Sieczynski – Wien: Du Stadt Meiner Träume Wienerlied
05. Carl Orff – Cantiones Profanae “Carima Burana” In Tabera Quando Sumus
06. Wolfgang Amadeus Mozart – Horn Concerto No.1 In D Major K.412/K.514 (K.386b), Movement 1: Allegro
07. Antonín Dvořák – Piano Trio No. 4 In E Minor Op. 90 “Dumky”: 2. Andante
08. Giovanni Battista Viotti – Schezando In D Major
09. Charles Gounod – Funeral March Of A Marionette For Woodwind Quartet (Arr. B. Holcombe)
10. Modest Mussorgski – Pictures At An Exhibition, Suite “Baba-Jaga”
11. Pjotr Iljitsch Tschaikowski – Piano Concerto No. 1 In B-Flat Minor Op. 23: Allegro Ma Non Troppo E Molto Maestoso – Allegro Con Spirito
12. Anton Bruckner – Symphony No. 7 In E Major (Ed. Nowak), Movement 4: Finale, Bewegt, Doch Nicht Schnell
13. Nini Rosso – Il Silenzio
14. Takeshi Inomata – The Dialogue With Vibraphone
15. Norio Maeda – Don’t Be That Way
16. Kazuo Yashiro – St. Thomas
17. Takeshi Inomata – The Dialogue With Bass
18. Announcement For Basic Checks (Voice)

For more complete list of performers – see the booklet.
This disc manufactured by Accuphase Laboratory Inc., Japan & Octavia Records, Inc. (Japan).

ISO

https://subyshare.com/c3r649o76xyx/Vari0usArtistsAccuphase.SpecialS0undSelecti0n2007SACDIS0.part1.rar.html
https://subyshare.com/mpc5frq9rhko/Vari0usArtistsAccuphase.SpecialS0undSelecti0n2007SACDIS0.part2.rar.html
https://subyshare.com/17ht9nalwp8n/Vari0usArtistsAccuphase.SpecialS0undSelecti0n2007SACDIS0.part3.rar.html
https://subyshare.com/2yui742jhx89/Vari0usArtistsAccuphase.SpecialS0undSelecti0n2007SACDIS0.part4.rar.html

FLAC

https://subyshare.com/neukwqlprbc0/Vari0usArtistsAccuphase.SpecialS0undSelecti0n2007FLAC2488.2.part1.rar.html
https://subyshare.com/j4d87lfnu8na/Vari0usArtistsAccuphase.SpecialS0undSelecti0n2007FLAC2488.2.part2.rar.html

Living Stereo: Frederic Chopin – Arthur Rubinstein – Ballades and Scherzos (2004) {PS3 ISO + FLAC}

Haftor Medboe Group – In Perpetuity (2006) [2.0 & 5.1] {PS3 ISO + FLAC}

Kinobe – Versebridgechorus? (2001) [2.0 & 5.1] {PS3 ISO + FLAC}

Living Stereo: Arthur Rubinstein – Saint-Saens / Liszt / Franck (2007) {PS3 ISO + FLAC}

Marcelo Alvarez – French Arias (2002) {PS3 ISO + FLAC}

Bruckner – BOB / Blunier – Symphony D minor "Nullte", 3 Pieces, March (2011) [Hybrid-SACD] {ISO + HiRes FLAC}

Theatre of Voices – Paul Hillier – Stories: Berio And Friends {PS3 ISO + FLAC}

The Police – Zenyatta Mondatta (1980) [Japanese SHM-SACD 2014] {PS3 ISO + FLAC}

The Police – Reggatta De Blanc (1979) [Japanese Limited SHM-SACD 2013 # UIGY-9538] {PS3 ISO + FLAC}

Depeche Mode – Construction Time Again (1983) [DMCD3 – 2007 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Some Great Reward (1984) [DMCD4 – 2007 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Black Celebration (1986) [DMCD5 – 2007 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Music For The Masses (1987) [DMCD6 – 2006 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – 101 (2CD, 1989) [LCDStumm101 – 2003 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Violator (1990) [DMCD7 – 2006 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Songs Of Faith And Devotion (1993) [DMCD8 – 2006 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Ultra (1997) [DMCD9 – 2007 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Exciter (2001) [DMCD10 – 2007 Remaster] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Depeche Mode – Playing The Angel (2005) [LCDStumm260 – 2005 Deluxe Edition] [SACD 2.0 & 5.1] {PS3 ISO + FLAC}

Various Artists – Accuphase: Special Sound Selection (2007) {PS3 ISO + FLAC}