Flac Opeth Pale

Opeth - Pale Communion (2014) [Official Digital Download 24bit/96kHz]

Opeth - Pale Communion (2014)
FLAC (tracks) 24 bit/96 kHz | Time - 55:50 minutes | 1,1 GB
Official Digital Download - Source: HDTracks.com | Front cover

Pale Communion follows 2011’s critically acclaimed Heritage which proved a milestone album for Opeth, earning them widespread acclaim and an ever-growing fan following. Debuting Top 20 on the Billboard 200 and racking up numerous ‘Best Of’ accolades in 2011, Heritage landed at #2 on both Decibel’s “Top 40 Albums of 2011” and Guitar World’s “Top 50 Albums of 2011” lists.

Opeth - Pale Communion (2014) [Blu-Ray Audio Rip] RE-UP  Vinyl & HR

Posted by HDV at Sept. 2, 2014
Opeth - Pale Communion (2014) [Blu-Ray Audio Rip] RE-UP

Opeth - Pale Communion (2014)
FLAC (tracks) 24 bit/96 kHz | Time - 67:42 minutes | 1,34 GB
Blu-Ray Audio Rip | Sourced Track - Dolby True HD Stereo | Front cover

Opeth - Pale Communion (2014) [Blu-ray Audio]  Vinyl & HR

Posted by juanchito at Aug. 28, 2014
Opeth - Pale Communion (2014) [Blu-ray Audio]

Opeth - Pale Communion (2014) [Blu-ray Audio]
Blu-ray Audio | MPEG-4 AVC 8002 kbps / 1080p / 23,976 fps / 16:9 / High Profile 4.1 | Audio: English Dolby TrueHD 5.1 / 96 kHz / 5342 kbps / 16-bit; English Dolby TrueHD 2.0 / 96 kHz / 2577 kbps / 24-bit | Genre: Progressive rock | Length: 01:07:42 | 10.11 GB
Opeth - Sorceress (2016) {Bonus Tracks Limited Edition} [Official Digital Download]

Opeth - Sorceress (2016) [Bonus Tracks Edition]
FLAC (tracks) 24-bit/44,1 kHz | Time - 90:25 minutes | 1015 MB
Studio Master, Official Digital Download | Artwork: Front cover

When Opeth released Heritage in 2011, they had completed the transformation from their death metal origins through progressive death metal in the early 2000s, to full-on prog rock that celebrated their love of Camel, Jethro Tull, ELP, and more. 2014's excellent Pale Communion furthered those notions as frontman and songwriter Mikael Åkerfeldt's own vision began to emerge. Sorceress is the third installment in this phase of the band's career, and while considerably different and more exploratory than its precursors, it also references Opeth's earlier efforts like Ghost Reveries and Blackwater Park, but goes further than either in its diversity.
Otis Redding – Otis Blue (1965/2016) [Analogue Productions SACD ISO+HiRes FLAC]

Otis Redding – Otis Blue (1965/2016) {Analogue Productions}
PS3 Rip | SACD ISO | DST64 2.0 >1-bit/2.8224 MHz | Full Scans 300dpi | 1.35GB + 5% Recovery
FLAC tracks 2.0 24bit/88.2 kHz | Full Scans 300dpi | 631MB + 5% Recovery

Otis Redding’s third album, and his first fully realized album, presents his talent unfettered, his direction clear, and his confidence emboldened, with fully half the songs representing a reach that extended his musical grasp. More than a quarter of this album is given over to Redding’s versions of songs by Sam Cooke, his idol, who had died the previous December, and all three are worth owning and hearing. Two of them, “A Change Is Gonna Come” and “Shake,” are every bit as essential as any soul recordings ever made, and while they (and much of this album) have reappeared on several anthologies, it’s useful to hear the songs from those sessions juxtaposed with each other, and with “Wonderful World,” which is seldom compiled elsewhere.
Anne-Sophie Mutter – Carmen Fantasie (1992/2005) [SACD ISO+HiRes FLAC]

Anne-Sophie Mutter – Carmen Fantasie (1992/2005)
PS3 Rip | SACD ISO | DST64 2.0 & DST64 5.1 >1-bit/2.8224 MHz | Front Cover | 3.37GB + 5% Recovery

Anne-Sophie Mutter obviously had fun making this disc. In the quiet pieces (Massenet, Ysaÿe, Fauré) which serve as interludes, she plays with her usual exquisite taste. In the showpieces, though, she goes to town, sliding, scooping, exaggerating, & letting all the stops out. The gypsy inflection she uses in Ravel’s Tzigane & Sarasate’s Zigeunerweisen is delicious. Even a ridiculous orchestral arrangement of Tartini’s Devil’s Trill Sonata is more amusing than offensive. With James Levine & the Berlin Philharmonic providing uncommonly alert & powerful support, & Deutsche Grammophon’s realistic sound, this disc is a real treat for violin lovers.

Buffalo Daughter - Pshychic (2003) PS3 ISO + Hi-Res FLAC  Vinyl & HR

Posted by HDAtall at Feb. 22, 2017
Buffalo Daughter - Pshychic (2003) PS3 ISO + Hi-Res FLAC

Buffalo Daughter - Pshychic (2003)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 51:02 minutes | Scans included | 1,64 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,01 GB

Buffalo Daughter is a three member group consisting of Sugar Yoshinaga, Yumiko Ohno and MoOoG Yamamoto, often augmented by a drummer and other guests. Their sound is heavily influenced by German progressive rock and techno pop, but also includes bits of dub, club, shoe gaze and post-rock influences. Given their mix and match style, and that they emerged in the mid-90s, they are often considered as part of the Shibuya-kei movement.
The Alban Berg Quartet - Haydn: Emperor / Mozart: Hunt (1994) [Japan 2014] PS3 ISO + Hi-Res FLAC

Alban Berg Quartet - Haydn: Emperor / Mozart: Hunt (1994) [Japan 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:05 minutes | Scans included | 1,56 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1021 MB

The Trio - Real (2005) PS3 ISO + Hi-Res FLAC  Vinyl & HR

Posted by HDAtall at Feb. 22, 2017
The Trio - Real (2005) PS3 ISO + Hi-Res FLAC

The Trio - Real (2005)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 61:07 minutes | Scans NOT included | 1,82 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 1,16 GB
Anne-Sophie Mutter - Beethoven: Violin Sonatas 5, 9 (2002) [SACD ISO+HiRes FLAC]

Anne-Sophie Mutter - Beethoven: Violin Sonatas 5, 9 (2002)
PS3 Rip | SACD ISO | DST64 2.0 & DST64 6.0 >1-bit/2.8224 MHz | Covers | 3.92GB + 5% Recovery
FLAC tracks 2.0 24bit/88.2 kHz | Covers | 1.26MB + 5% Recovery

This SACD transfer of Anne-Sophie Mutter’s Beethoven violin sonatas, taken from a series of live recordings from 1998, does not transcend the questionable interpretations. In each of these famous sonatas, Mutter takes excessive liberties with respect to dynamics and phrasing, and while some listeners may appreciate the thought and care she puts into these readings, it sounds as if she is trying a bit too hard to be “musical”. For example, just before the exposition repeat of the “Spring” sonata, several instances of disproportionate agogic pauses, inconsistent use of vibrato, random adherences to sforzando markings, and a sporadic disregard for (or recasting of) dynamics combine to produce an overly fussy performance that lacks momentum and a sense of direction.