Конечно, можно было бы, не мудрствуя лукаво, описать стилистику этих парней одним словом: «Hatebreed», но их бешеная энергетика и внетрендовость не может не подкупать, заставляя добавить к рецензии пару дополнительных предложений. Born From Pain тяготеют к еще более хардкоровому звучанию, чем их американские учителя, что явно позволяет им выгодно выделяться из обширного пула голландских и немецких модерн-экстрим команд. При этом никаких мелодических линий и разнообразия гитарных партий, максимум – легкие эксперименты с ритмическими сбивками. Зато и никаких эмо-соплей! Суровая музыка для угрюмых бритоголовых парней, с которыми лучше не встречаться в подворотне западно- и центральноевропейских городов

Seal is the eponymous debut album by Seal, released in 1991. It contains the UK singles "Killer" (originally performed with Adamski), "Crazy", "Future Love Paradise", "The Beginning" and "Violet". The album debuted at #1 in the UK. Seal's following album, released in 1994, was also named Seal - it is usually referred to as Seal II.

Naim began when Julian Vereker started Naim Audio Visual in 1969 and created a sound-to-light box that he hired out to film production companies. He designed his own power amplifier. The company Naim Audio was incorporated in 1973.

The Notorious Byrd Brothers is the fifth studio album by the American rock band the Byrds, released on January 15, 1968, by Columbia Records. The album represents the pinnacle of the Byrds' late-'60s musical experimentation, with the band blending together elements of psychedelia, folk rock, country, electronic music, baroque pop, and jazz. With producer Gary Usher, they made extensive use of a number of studio effects and production techniques, including phasing, flanging, and spatial panning.

Patricia Barber’s unique style and unusual voice made her an easy target for critics in the early days of her career. Her piano playing and singing, while inventive, never ventured close enough to the avant-garde to earn her artistic license, and her insistence on writing her own material and adapting songs from the pop world made her difficult to categorize. A tireless performer who refused to conform to more conventional vocal jazz idioms, she worked her way up through the Chicago jazz scene slowly, almost reluctantly, after having spent several years in Iowa attending college and performing with local groups.

Nightclub stands out as a quiet gem in Patricia Barber’s catalog - offering lush, emotionally rich interpretations of familiar jazz standards in a style that’s intimate yet powerful. While it leans more traditional, the album isn’t just a standards exercise; it’s a deep dive into mood, space, and subtle storytelling.
If you're drawn to jazz that feels personal, moody, and performed with restraint and depth - Nightclub is a compelling listen. And if you're an audiophile, the recording’s quality alone might make it a beloved favorite.

Американская пианистка, вокалистка и композитор Патрисия Барбер (Patricia Barber) - это авангард новой женской школы джазовых музыкантов. Лет десять-пятнадцать назад ее коллеги по жанру на свой страх и риск начали осваивать ту интригующую территорию импровизации, которая пролегала между классическими балладами и техникой смешения ритмов, создающей новые стандарты. Она была в числе первопроходцев. Сегодня Патрисия Барбер обладает репутацией артистки, жестко отстаивающей свою независимость и уделяющей максимум внимания «творческой пристрелке», тщательной и всесторонней оценке будущего альбома. Ее интуиция в этом смысле непогрешима, а потому неудивительна любовь многочисленных фанов, которые за двадцать с лишним лет джазовой карьеры появились у Патрисии сначала в родном Чикаго, а затем по всей Америке и далеко за ее пределами. Начиная с середины 80-х, артистка подготовила и издала девять альбомов, на которых представила не только джазовые обработки поп-мелодий и известные стандарты, но и композиции собственного сочинения.

Patricia Barber is an American songwriter, composer, singer, and pianist.

Pianist/vocalist Patricia Barber is the Alanis Morissette of the jazz world. Her serpentine, poetic songs teeter between deftly witty and awkwardly Latinate. Each album is more ambitious than the last, taking her deeper into avant-garde territory both lyrically and instrumentally. Verse is no exception. Case in point: "I Could Eat Your Words," a canny bit of word play in the tradition of "Peel Me a Grape," in which Barber barely gets away with words like "provocation" and "syllogistically," only to sum things up with the devastating line, "sip the spit from your bittersweet rhyme." The indelible track here, though, has to be "If I Were Blue," featuring the line, "If I were blue, like David Hockney's pool/Dive into me and glide under a California sky/Inside your mouth and nose and eyes am I." It's perhaps the best thing Barber has ever written -- it could be considered serious modern poetry if only it didn't rhyme. About the biggest complaint one can lodge against Barber is her insistent denial of melody. Her voice is soft, almost matter-of-fact, and she more or less hints at singing. Obviously, lyrical intent is more important to Barber than how she carries a tune, and her voice does seem more suited to whispering torch songs cabaret-style, such as on "Dansons la Gigue," than delivering any vocal gymnastics. It's just that sometimes her songs could be showcased better with a consistently delivered vocal melody. However, she makes up for her lack of sonorousness (to use a Barber kind of word) with intricate musical arrangements, this time around augmented by the Miles Davis-cum-Lester Bowie trumpet of Dave Douglas. Barber's is a world of cloaked intentions, and Douglas' playful vibrato works like the flame of a candle illuminating her soft, shadowy corners.

Chicago native and classically trained pianist Patricia Barber's sixth album is a collection of downtempo standards, perfect for a rainy day. Taking on classics like "Autumn Leaves," "I Fall in Love Too Easily," "Bye Bye Blackbird," or even "Alfie" is always a risk, but her confident vocals and interpretations eradicate any doubt that she is a master. Her production is spare, allowing her to sing with such melancholy it's almost eerie. Not many performers can relay such harrowing feeling without over-emoting, but Barber makes it seem effortless. Nightclub is an appropriate title; listening to these love songs is like being in a smoky room, courted by a lounge singer. This is a classy, solid effort.

Companion was recorded in a special three-night series of shows in July, 1999 at Chicago's famed Green Mill jazz club -- an unusually short amount of time to produce a live album. To mine as much material as possible from those nights the performances were run more like recording sessions than live shows, with the crowd reverently hushed. Patricia Barber is in her element and the only thing that seems to have suffered for the recording circumstances is the album's length -- at seven songs and 40 minutes, it walks the line between standard EP and full-length size. One surmises that it might have been longer had there been more album-quality material from the performances. Recalling the energy that was present on her critically worshipped Café Blue album, there is an ease and creativity on Companion which makes her fans' devotion understandable. Barber has been criticized for being a jazz singer in the loosest sense -- her style borrows heavily from R&B and she often covers pop songs (Sonny Bono's "The Beat Goes On" is a sheer stylish delight), and her song "If This Isn't Jazz" answers that criticism with a thumb to the nose. What many critics fail to notice, however, is the strength of her musicianship. Sexism within the industry keeps many from seeing female jazz performers playing roles other than those of vocalists -- Barber's warm, breathy voice and creative phrasing are wonderful, for sure, but what really shines are her arrangements. With a talented band behind her, on Companion Barber has made magic with her compositions, her piano playing, and yes, her voice. Intended to be a companion to Modern Cool, this album of mostly previously unrecorded material serves as an excellent introduction to all of her work.

What's Going On is the eleventh studio album by the American soul singer Marvin Gaye. It was released on May 21, 1971, by the Motown Records subsidiary label Tamla. Recorded between 1970 and 1971 in sessions at Hitsville U.S.A., Golden World, United Sound Studios in Detroit, and at The Sound Factory in West Hollywood, California, it was Gaye's first album to credit him as producer and to credit Motown's in-house session musicians, known as the Funk Brothers.

Long Distance Voyager is the tenth album by The Moody Blues, first released in May 1981 on the group's Threshold record label. It was the group's first album featuring keyboardist Patrick Moraz (in his past he worked with bands such as Refugee and Yes) in place of co-founder Mike Pinder, who left after Octave in 1978.

The album reached No. 6 on Billboard's Pop Albums chart, the first of Dylan's LPs to break into the US Top 10. It also topped the UK charts later that spring. The first track, "Subterranean Homesick Blues", became Dylan's first single to chart in the US, peaking at No. 39. Bringing It All Back Home has been described as one of the greatest albums of all time by multiple publications. In 2003, it was ranked number 31 on Rolling Stone's list of the "500 Greatest Albums of All Time", later repositioned to number 181 in the 2020 edition.