![Dead Can Dance - Within The Realm Of A Dying Sun (1987) [MFSL 2008]](https://imghd.xyz/images/2025/10/12/hjRqG.jpg "Dead Can Dance - Within The Realm Of A Dying Sun (1987) [MFSL 2008]")
Title: Dead Can Dance – Within The Realm Of A Dying Sun (1987) [MFSL 2008]
Genre: Alternative Rock, Modern Classical
Format: SACD ISO + Hi-Res FLAC
Within the Realm of a Dying Sun is the third studio album by the band Dead Can Dance. It was released on 27 July 1987 by record label 4AD.
![Dead Can Dance - Spleen And Ideal (1986) [MFSL 2008]](https://imghd.xyz/images/2025/10/12/7D9j8.jpg "Dead Can Dance - Spleen And Ideal (1986) [MFSL 2008]")
Title: Dead Can Dance – Spleen And Ideal (1986) [MFSL 2008]
Genre: Alternative Rock, Experimental, Modern Classical
Format: SACD ISO + Hi-Res FLAC
Spleen and Ideal is the second studio album by Australian musical act Dead Can Dance. It was released on 1 September 1985, by record label 4AD. The album features a transition between the band’s post-punk and gothic rock-influenced debut album towards a greater darkwave style.
![Dead Can Dance - Garden Of The Arcane Delights (EP - 1984) [MFSL 2008]](https://imghd.xyz/images/2025/10/12/I83on.jpg "Dead Can Dance - Garden Of The Arcane Delights (EP - 1984) [MFSL 2008]")
Title: Dead Can Dance – Garden Of The Arcane Delights (EP – 1984) [MFSL 2008]
Genre: Gothic Rock
Format: SACD ISO + Hi-Res FLAC
Garden of the Arcane Delights is the first and only EP by Australian band Dead Can Dance. It was released in August 1984 on record label 4AD. The tracks were later added to Dead Can Dance’s self-titled debut album when it was re-released on CD.
![Dead Can Dance - Dead Can Dance (1984) [MFSL 2008]](https://imghd.xyz/images/2025/10/12/sKJLS.jpg "Dead Can Dance - Dead Can Dance (1984) [MFSL 2008]")
Title: Dead Can Dance – Dead Can Dance (1984) [MFSL 2008]
Genre: Gothic Rock
Format: SACD ISO + Hi-Res FLAC
Dead Can Dance is the debut studio album by Australian musical act Dead Can Dance. It was released on 27 February 1984 by record label 4AD. This album differs greatly from later Dead Can Dance releases in its incorporation of post-punk and gothic rock musical styles.
Title: David Wilczewski – Room In The Clouds (2006)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC
Dave Wilczewski was an American saxophonist living in Stockholm. Working with many groups on the road as well as in the recording studio, Dave was one of the most outstanding and coveted jazzsoloists in Sweden. He played with a melodic unique and personal style, which assembled many elements from different jazz and fusion areas. He has played on over 200 albums and in 2006, released his own album, “Room In The Clouds”. This album is a mature and relaxed offering from a musician who is equally gifted as a player and writer. This distinctive recording will resonate with fans of the contemporary music scene and undoubtedly stand the test of time.
Dave Wilczewski, a member of the group Vital Information, is highlighted on the latest Surround Sound Super Audio CD release from Opus 3 Records entitled “Room In The Clouds”. The album features 12 selections that were composed and arranged by Dave Wilczewski. Vital Information drummer Steve Smith says that “Room In The Clouds is a mature and relaxed offering from a musician who is equally gifted as a player and writer. The instrumentation and conception of this group is, at times, reminiscent of the early Vital Information recordings that Dave participated in as a writer/player, but the music on Room In The Clouds unfolds slowly, the musicians clearly allowing the music to lead them from moment to moment without imposing their “playing ability” onto the music.” The album is an original Direct Stream Sigital (DSD) recording made at Opus 3 studios in Sweden. Equipment used on the session includes the Sonoma DSD Workstation, 2 Genex GX 8500 Recorders and the EMM Labs Meitner ADC8 and DAC8 MK IV DSD converters. The album was produced by the artist and engineered by Opus 3 label owner Jan-Eric Persson and mastered by Thomas Eberger and Jan-Eric Persson at Cutting Room AB.
Title: David Sanchez – Coral (2004)
Genre: Jazz
Format: MCH SACD ISO
This is not jazz, this is not classical, this is not Afro-Cuban. This is music; the true test of a music lover. David Sanchez, a Puerto Rican by birth 1st came to prominence in Dizzy Gellespie’s United Nations Orchestra. Dizzy brought many aspiring musicians to the attention of the public during his long & distinguished career; David Sanchez was 1 of the last. He has a most beautiful tone on the saxophone & a technique 2nd to none. I would rate him 1 of the best tenor players in the world at this time. I find it refreshing that he is able to be modern & different, without the use of the ugly sounds, which for me mar the work of so many contemporary musicians. The arrangements for the Prague Symphony by Carlos Frenzetti are also remarkable. Most jazz player with Symphony backing discs have failed due to a total lack of empathy between the players. This is not present here, what we have is superb melodies, excellently played by all concerned. The recording was in fact made in Prague, at Smechy Studios; the mixing however took place at Sony Music Studio, New York City. Wherever the work was done, the overall result is near perfection, so near, that I could not point to anything needing improvement. Perhaps the sleeve note could have spent more time on the background to the music & a less on David thanking his butcher, baker & candlestick maker! The 1st 2 tracks are based on compositions of Jobim, which gives a guarantee of quality. Tracks 6 & 9 are Sanchez compositions & track 6 is from Franzetti. Track 6 has some double tracking with Sanchez stating his own theme before continuing with more delicious improvisations. This is music to relax & enjoy; David Sanchez takes the listener on a musical journey of great quality & inventiveness. It is 1 of the very best new releases in a long time & should be in everyone’s collection. ~Don Mather
Title: David Sanborn – Time Again (2003)
Genre: Jazz
Format: MCH SACD ISO + DSF DSD64 + Hi-Res FLAC
It’s not hyperbole to say that this is Sanborn’s best record since his Warner Brothers heyday of the ’80s. The same can be said of the quality of the musicians gathered for the alto saxophonist’s first album for Verve. The material may be the best he’s ever assembled, with many cover tunes that are singularly identified with other artists, yet he redefines them. None of those words are meant to disparage those Grammy-winning gold albums of yore, it just his high standards have been magnified many fold on these 10 tracks. From the absolutely smoke-any-kind-of groove all-star band featuring a wailing Russell Malone on guitar, Christian McBride on bass, Mike Mainieri from Steps Ahead on vibes, and Sanborn’s longtime keyboard player, Ricky Peterson, to the sterling arrangements of re-imaged classics, including Stevie Wonder’s “Isn’t She Lovely” done as a ballad and the timeless “Harlem Nocturne” spiced with world music overtones, this record sparkles. “Comin’ Home Baby” and “Christo Redentor,” songs made famous in the ’60s by Herbie Mann and Donald Byrd respectively, are interpreted with such passion and fire, it’s as if the melodies have belonged to Sanborn the whole time. His exquisite alto tone shines throughout the proceedings, and Malone just shows off on “Sugar”, and one of three Sanborn originals, “Spider B”.
Master saxophonist David Sanborn makes an astounding label debut with Time Again, and once again reminds his fans that he is firmly established as one of jazz’s best alto saxophonists. Joined by an all-star ensemble of master musicians that includes Russell Malone on guitar, Steve Gadd on drums, Christian McBride on bass, Mike Mainieri on vibraphone, and Randy Brecker on trumpet and flugelhorn, among others, David Sanborn delves deep into his seemingly never-ending repertoire to bring his distinctive sound to a variety of pop and jazz standards. Opening with a super-funky rendition of “Comin’ Home,” Sanborn reveals the culmination of hard work and staying power with a powerful statement of the melody which seamlessly segues into awesome solos taken by Mainieri and McBride. They get even better on “Cristo Redentor,” offering listeners another side of this infamous gospel jazz piece made famous by Donald Byrd. With soulful, innovative lines and a nighttime groove, Sanborn plays a reflective, sincere set that is destined to revive this song to the level not heard since the ’70s, when it was the theme song for several late-night radio programs. Ditto for “Harlem Nocturne,” which has become one of the most recognized television theme songs in the past decade. Sanborn, however, lifts it to another level with his dynamic 21st century outlook and brilliant improvisations. The all-masterful Time Again has something for everyone. It’s romantic, it’s funky, it’s laid-back, and it’s definitely one that should be in your music collection. In a sense, David Sanborn has pulled off one of the best recordings of his career.
Title: David Roth – Will You Come Home (2014)
Genre: Country, Folk
Format: SACD ISO + Hi-Res FLAC
A photograph album full of treasured memories – David Roth’s third album with Stockfisch-Records “Will You Come Home”. Singer/songwriter Roth transports the listener on a magical journey through highlights in his life. David Roth is a musical portrait artist who conveys a wealth of stories, anecdotes and remembered scenes with a physically felt intensity. This album is reminiscent, too, of an much-loved anthology of poetry, like one of those marvellous books which one can simply open at any page. That extraordinary feeling of warmth and familiarity that takes us by surprise when listening to this music comes from the sheer magic of the melodies, the mellow harmonies, the irresistible guitar sounds and David Roth’s voice. And not least because the message is universal: happiness and serenity, sadness, excited anticipation, gratitude, a dash of regret – and not least the humour lurking in chance observations. In a snowstorm like the one that created havoc along America’s coastline recently, David Roth’s “Will You Come Home” would be the THE music for weathering the storm. Being snowed has its advantages: these songs are like much-loved guests – how nice that they cannot leave.
Title: David Lloyd-Jones – Gustav Holst: The Planets (2004)
Genre: Classical
Format: MCH SACD ISO
This version of Holst’s endearing masterpiece, “The Planets”, sounds very good in Naxos’ super audio 5.1 technology. I do not have the point one (subwoofer) hooked up in my house and assume, by listening to the recording in 5.0, that the timpani — which are already very powerful and forward placed — would be explosive if you listened in 5.1. The sound is very good otherwise, with wide ranging and natural orchestral body and timbre. It is not the best super audio sound I’ve heard but it is good and a big improvement over the stereo sound on the last version of “The Planets” I purchased, the one Berlin Philharmonic and Simon Rattle released last year.
The performance, by David Lloyd-Jones and the Royal Scottish National Orchestra, is one built on extreme contrasts. Lloyd-Jones has done everything in his power to contrast the loudness of the loud sections, such as “Mars”, against the quietness of the quieter sections, such as “Venus” and “Saturn”. While the timing for each section is in a normal range based on other recordings I have, Lloyd-Jones seems to proceed as (sic) a measured pace in the quieter sections because they are nearly silent in the hushed moments. This makes for exciting contrast in your home, where the power of the opening Mars sequence — with timpani brought forward by the sound technology — makes the following Venus section a bit difficult to adjust to. This is not much of a problem when listening at home on a decent super audio stereo setup. However, when you listen in the car, you literally cannot hear the quieter sections. I turned up my car stereo as loud as it would go and still endured long stretches on nothingness that was uniquely frustrating in my experience. This doesn’t make it a bad issue, of course, but it means I won’t be listening to this one in the car.
![David Hazeltine Trio - Waltz For Debby (1999) [Japan 2017]](https://imghd.xyz/images/2025/10/09/CQeJYF9.jpg "David Hazeltine Trio - Waltz For Debby (1999) [Japan 2017]")
Title: David Hazeltine Trio – Waltz For Debby (1999) [Japan 2017]
Genre: Jazz
Format: SACD ISO + Hi-Res FLAC
It’s a challenge to play Evans’ compositions without a certain degree of his influence in a piano trio setting, but that doesn’t really matter, as the three musicians keep the music fresh, even if there is nothing innovative about their approach. Vetran bassist George Mraz is a veteran of many sessions as a sideman for Venus, and drummer Billy Drummond is also a first-call player, while both fit the mold of musicians who would have complemented Evans himself. Hazeltine never attempts to outright copy Evans’ playing style, beginning with a breezy “Waltz for Debby” that percolates with energy. Ballads are always an acid test for jazz musicians, and Hazeltine’s treatment of the bittersweet “Time Remembered” brings out the lyricism of this beautiful work. Mraz is showcased in good light in the challenging “Funkallero.” Hazeltine has one solo feature, the intricate original “Bill at Peace,” in which the late pianist’s influence is readily apparent. The audio throughout this enjoyable session is superb, giving the listener the feeling of sitting a few feet away from the trio in the studio.