Musica nuda 2 è il secondo album del progetto musicale Musica Nuda (Petra Magoni e Ferruccio Spinetti), pubblicato nel 2006 per l'etichetta discografica RadioFandango.

Musica nuda è il primo album del progetto musicale Musica Nuda (Petra Magoni e Ferruccio Spinetti), pubblicato nel 2004 per l'etichetta discografica Storie di note.

His impressive live implementation of electronic music has made Parov Stelar a much sought after live act. With "Live @ Pukkelpop", recorded in 2015, he now presents his first live album. It all started 20 years ago when the electro swing pioneer began his metamorphosis from producer to bandleader by founding his live band. It became a sensational success story that goes hand in hand with the success of his albums and singles.

It is not just the spider that is burning, it is the entire net: driven by the strong will to free itself from the spiderweb of expectations and inspired by a creative fire, Parov Stelar unveils unexpected sides of his music on his new album „The Burning Spider“ and opens a new chapter of his samplebased sound research throughout the history of music.
Many aspects of the unique Parov Stelar sound remain, only influences and references are newly generated once again. On his last albums especially swing references made Stelar a global superstar of a genre, now he offers new sounds with blues and jazz elements from Muddy Waters, Lightnin’ Hopkins and singer Anduze from the American Virgin Islands.

Decksandrumsandrockandroll is the only studio album by Propellerheads. It was originally released by Wall of Sound on 26 January 1998 in the United Kingdom. In the United States, it was released by DreamWorks Records with a different track listing.
The album peaked at number 6 on the UK Albums Chart, as well as number 100 on the Billboard 200 chart. It was nominated for the Mercury Music Prize in 1998. As of 1999, it has sold 200,000 copies.

2nd album of pure. black metal, dsbm, doom Includes unlimited streaming of And the waters turned to blood

Café Blue stands out with its daring blend of jazz standards, originals, and poetic settings—from Maya Angelou to avant-garde inspirations. Mourning Grace, for instance, sets Angelou’s haunting line “Will you have the grace to mourn for me?” against an evolving musical backdrop, culminating in Barber’s emotionally charged vocal ascent.

“Constantinople”, from 1998’s Modern Cool, is the most extreme example. Over a shifting Middle Eastern groove fueled by Mark Walker’s percussion work, Barber keens wordlessly and then gives trumpeter Dave Douglas several beautiful minutes to vamp in Sketches of Spain style; when she comes back in, long vocal lines punctuated by staccato guitar work by John McLean, it’s so haunting and perfect that you forget that she doesn’t actually play piano at all on the track.

A bold and affecting song cycle. Patricia Barber, after receiving a Guggenheim Fellowship in 2003, embarked on one of her most ambitious projects—Mythologies, a compelling 11-track song cycle inspired by the characters of Ovid's Metamorphoses. Each composition musically fleshes out figures from ancient myth, blending narrative depth with sophisticated compositional structure.

Modern Cool pulses with vivid character sketches of modern life—starting with "Touch of Trash," a sharp portrait of a woman “just a culture short of class.” The album unfolds in a low-lit, nocturnal jazz world, where Barber’s smoky voice and John McLean’s ethereal guitar evoke flickering streetlights and inner monologues.

Split is a newly remastered edition of Patricia Barber‘s first album originally released on Floyd Records in 1989. Koch reissued the album on Stereo CD in 2004. It has been off the market for over 20 years.
This is the first album in which we hear her first versions of standards she revisits in later albums (“Early Autumn” on “Higher”, “Easy.

When Café Blue was released by Premonition Records in 1994, two things happened. A “maverick” jazz artist began a sustained, inventive career and a significant audiophile release put the label on the map. Barber’s father, a musician with Glenn Miller, had instilled a respect for jazz arrangement. After paying her dues on the Chicago music scene, her relentless performance schedule garnered an enthusiastic cult following. It didn’t take long for critics to recognize the quirky stylistic approach to jazz. Relying on original material and a mix of pop standards, Barber created albums of musical vision and poetic flair.

A Distortion of Love from 1992 showcases Patricia Barber the consummate jazz pianist as well as the chanteuse with the husky voice which has become her trademark of late. There are some very interesting purely instrumental tracks on this album, especially the hard driving McCoy Tyner-ish "Subway Station No. 5," the impressionistic "Parts Parallels," and "Yet Another in a Long Series of Yellow Car" which has a Joe Zawinul/Weather Report feel to it.