Rock,Metal - HD Audio

Stewart Forgey - Nature Of The Universe (2024) 96-24
Country: USA
Genre: Rock
Format: FLAC (*tracks)
Quality: Lossless [96kHz/24 bit]
Time: 39:40
Full Size: 830.07 MB


West Coast sensations Pacific Range lit up the pre-Covid Cosmic American Music/Jam Band scene and like a flash they disappeared leaving multi instrumentalist and founding member Stewart Forgey on his own to create one this year's most exciting albums, NATURE OF THE UNIVERSE! Bringing it all back home with Dan Horne producing along with his Pac Range bandmates, Circles Around The Sun, Mapache, FDWOW all help Stew deliver these very well written gems, it's classic rock and then some.






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Jesse Dayton - The Hard Way Blues (2024) 96-24
Genre: Americana, Blues, Rock
Format: FLAC (*tracks)
Quality: Lossless [96kHz/24 bit]
Time: 34:44
Full Size: 698.91 MB









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Richard Hawley - In This City They Call You Love (2024) 44.1-24
Country: UK
Genre: Indie Pop, Baroque Pop, Soft Rock
Format: FLAC (*tracks)
Quality: Lossless [44,1kHz/24 bit]
Time: 42:06
Full Size: 455.45 MB









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Cobra the Impaler - Karma Collision (2024) 48-24
Country: Belgium
Genre: Progressive Metal, Progressive Metalcore
Format: FLAC (*tracks)
Quality: Lossless [48kHz/24 bit]
Time: 52:21
Full Size: 661.99 MB









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Duff McKagan (Guns N' Roses) - Tenderness - Live in Los Angeles (2024) 48-24
Country: USA
Genre: Hard Rock
Format: FLAC (*tracks)
Quality: Lossless [48kHz/24 bit]
Time: 01:28:04
Full Size: 1.02 GB








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Cloven Hoof - Heathen Cross (2024) 44.1-24
Country:UK
Genre: Heavy Metal, NWOBHM
Format: FLAC (*tracks)
Quality: Lossless [44,1kHz/24 bit]
Time: 42:15
Full Size: 516.38 MB


Midlands outfit Cloven Hoof must rate as one of the most legendary bands of the entire New Wave Of British Heavy Metal movement. The origins of the group go back to the year 1979, when they first formed under the name of Nightstalker. In 1981, however, the band switched to their new moniker: Cloven Hoof.

With songs like "Do What Thou Wilt", "Sabbat Stones" and "The Summoning" their brand new album »Heathen Cross« marks the return to High Roller Records. "We are back now where we belong," smirks Lee Payne. "»Heathen Cross« is Cloven Hoof's most dark and heavy album yet! It has the Satanic undertones of our debut album, but with the best vocalist the group has ever had. Personally speaking it is hands down my favourite Cloven Hoof album. We wanted to recapture the spirit and the supernatural majesty of the debut album. Talking to the fans we have given them what they wanted most, a return to the roots of the NWOBHM. They are going to love it!"






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Can - Live In Aston 1977 (2024) 96-24
Country: Germany
Genre: Krautrock, Prog Rock, Psychedelic Rock
Format: FLAC (*tracks)
Quality: Lossless [96kHz/24 bit]
Time: 46:47
Full Size: 943.67 MB








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Black Sabbath - Cross Purposes (2024 Remaster) (1994) 44.1-24
Country: UK
Genre: Heavy Metal
Format: FLAC (*tracks)
Quality: Lossless [44,1kHz/24 bit]
Time: 50:14
Full Size: 614.9 MB


Cross Purposes could have been the ultimate Black Sabbath album. That may be a bold claim, but it combines members from several different eras together for perhaps the most promising lineup since Ronnie James Dio's days with the band. Geezer Butler is there to represent the classic '70s version, Tony Martin returned to the fold to be the '80s representative, new drummer Bob Rondinelli brings the '90s flavor to everything, and Tony Iommi is the never-say-die (no pun intended) original member who never left the flock. But instead of crafting Sabbath's masterful return to grace, they made a weird mishmash of power metal and stoner rock that works more often than not. At least Butler seems to have Iommi attempting memorable riffs again, something he couldn't quite get the hang of until the album previous to this. "I Witness" opens with a classic guitar part, while the drums drive the song along and the bass chugs away with a newfound energy. But this energy is offset by the increasingly soulful vocals of Martin, who simply cannot muster the creepy wail that Ozzy Osbourne brought to the band. In fact, he puts in a performance that is even below the standards he set on albums like The Eternal Idol. The minute his voice starts on the first track, it's as if Sabbath had to adjust to not make him sound out of place. Why the band couldn't have found a suitable replacement is a mystery, unless Iommi had simply given up on bringing in yet another singer after so many had come after Osbourne. "Virtual Death" is the brutally heavy shocker that suddenly appears in the middle of the album; it goes to show how they could have incorporated Martin much more effectively and is also the best slow crawl Iommi had worked on since 1983's "Zero the Hero." Butler does seem to have a good influence on Iommi whenever they work together, and their interplay becomes quite interesting as the album goes on. For whatever reason, most of the filler is at the beginning, leaving the better material to hang back for the second half. "Immaculate Deception" contains another good riff, although keyboardist Geoff Nichols spews inappropriate new age nonsense all over it. "Back to Eden" improves matters again with more wonderful interaction between Butler and Iommi, while "Cardinal Sin" is yet another good song that goes to show how misused Martin had been during his first run with the band. Many might disagree, but Cross Purposes is the first album since Born Again that actually sounds like a real Sabbath record. And it is probably the best thing they'd released since The Mob Rules, even with the filler tracks and keyboards. Of course, the lineup completely dissolved as Iommi perpetuated the band's downward spiral, but for a brief moment it seemed like Sabbath could have really shaped up into something special.

© Bradley Torreano /TiVo






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Shock Hazard - Hellfire (2024) 48-24
Genre: Heavy Metal, Hard Rock
Format: FLAC (*tracks)
Quality: Lossless [48kHz/24 bit]
Time: 58:52
Full Size: 725.42 MB









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Richard Thompson - Ship To Shore (2024) 88.2-24
Country: UK
Genre: Folk Rock
Format: FLAC (*tracks)
Quality: Lossless [88,2kHz/24 bit]
Time: 46:00
Full Size: 874.25 MB


From his time in folk-rock innovators Fairport Convention through the 50 years since his solo debut Henry the Human Fly, Richard Thompson has qualified as an obvious legend. His songwriting, singing, and guitar playing all stand out as both exceptional and versatile. Now in a later phase of his evolution, he's moved away from the exploratory nature of his early and mid-career albums; like other recent Thopmson albums, Ship to Shore focuses on presenting a new set of his amazing songs and delivery, with a balance of cohesion and variety.

Thompson's solo albums since his debut in 1972-a year after leaving Fairport Convention- through the '90s, emphasized his collaboration with production and engineering teams. On 1974's Henry the Human Fly and the classic Richard & Linda Thompson albums that followed it, producer Joe Boyd encouraged John Wood's beautiful mixes to shine. Mitchell Froom and Tchad Blake brought a decade of their unusual keyboards and inventive mix ideas starting with 1986's Daring Adventures. This chapter ends with Rob Schnapf and Tom Rothrock's 1999 work on Mock Tudor, coupling simpler arrangements with crisp elements of '90s alt-rock.

Since 2003's The Old Kit Bag, Thompson's albums of new songs have had more straightforward production and mixes, even on albums with prominent musicians like Buddy Miller and Jeff Tweedy as producers. Drummer Michael Jerome has worked with Thompson since The Old Kit Bag, and Taras Prodaniuk joined on bass for 2007's Sweet Warrior.

While songs on Ship to Shore vary in volume, tempo, and arrangement, they generally fall in the middle of his dynamic and emotional range. The album's highest peaks-"Maybe" and "Turnstile Casanova"-never approach the blistering catharsis of "Shoot Out the Lights." The acoustic arrangement that starts "Singapore Sadie" and the jazz-informed tonality of "Life's a Bloody Show" still pair with rock elements with more visceral punch than Thompson's acoustic hits like "Beeswing" or "Vincent Black Lightning 1952." The combination of electric guitar and rock drums with fiddle and acoustic guitar gives the album a versatile tonal palette, as these elements take turns in the foreground.

Like any Richard Thompson album, the guitar solos emphasize some key emotional highlights. On Ship to Shore, in generally modest amounts of space, as on the 16-measure outro of opener "Freeze," they combine creative tonal and formal explorations with his obvious fretboard dexterity. © Steve Silverstein/Qobuz






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