Beyonce

Beyoncé – RENAISSANCE (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:02:21 minutes | 725 MB | Genre: Pop, R&B
Studio Masters, Official Digital Download | Front Cover | © Parkwood Entertainment – Columbia

Renaissance is the upcoming seventh studio album by American singer Beyoncé, set to be released on July 29, 2022, through Parkwood Entertainment and Columbia Records. It features guest appearances from Beam, Grace Jones and Tems. The album’s lead single “Break My Soul” was released June 20, 2022.
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Beyonce – The Lion King: The Gift (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 54:19 minutes | 619 MB | Genre: Rap
Studio Masters, Official Digital Download | Front Cover | © Parkwood Entertainment – Columbia

Following the appearance of the official soundtrack to the remake of “The Lion King” on the platforms, Beyoncé announced the release of its own album, dedicated to an animated film. The singer, voiced the lioness Nala, will release the album “The Lion King: The Gift”.

The cover of The Gift features a pair of golden lions, one of which bites the other by the tail. In addition to Beyoncé, such giants of the industry as Kendrick Lamar, Childish Gambino (who got the role of Simba in the Lion King), 070 Shake, Farrell Williams, Wiz Kid and others participated in the recording of 14 tracks. JAY-Z and their daughter Beyoncé Blue Ivy Carter also appear in the tracklist: the singer’s husband is listed in the performers of the song “Mood 4 Eva”, and Blue Ivy in Brown Skin Girl.

Beyoncé called her album “sound film”. “This is a new way to tell a story,” said the singer. “I wanted to do more than just collect a collection of songs inspired by the film. It is a mixture of genres and collaborations that sound different. He was influenced by everything from R & B and pop to hip-hop and afro-beat. I wanted everyone to connect themselves in their own way with this storyline. ”
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Beyoncé – Lemonade (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 45:46 minutes | 991 MB | Genre: R&B
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Parkwood Entertainment

Lemonade is the sixth studio album by American singer Beyoncé. It was released on April 23, 2016 through Parkwood Entertainment and Columbia Records. It’s Beyoncé’s second “visual album” following her eponymous album (2013), as well as a concept album accompanied upon its release by 65 minute film which aired on HBO. Primarily an R&B album, Lemonade encompasses a variety of genres, including pop, reggae, blues, rock, hip hop, soul, funk, Americana, country, gospel, electronic, and trap music. The album features guest vocals from James Blake, Kendrick Lamar, The Weeknd, and Jack White. The album contains samples and interpolations of a number of hip-hop and rock songs.
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Beyonce – HOMECOMING: THE LIVE ALBUM (Explicit) (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 01:49:14 minutes | 1,43 GB | Genre: Pop
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Columbia

In April 2018, Beyoncé headlined Coachella with an epic performance that would set a new bar for festival spectacle. Arriving a year after her originally scheduled headline slot — delayed due to the birth of her twins — the high-stakes show was a triumph. Immortalized alongside its counterpart concert film/documentary, Homecoming: The Live Album is a monument to black excellence and empowerment. As the first African-American woman to headline the festival, Beyoncé took the duty seriously, crafting a showcase of black culture, feminism, and history that acknowledged her place in the timeline while celebrating those who paved the way, from strong black women such as Nina Simone, Maya Angelou, Toni Morrison, and Chimamanda Ngozi Adichie to Southern hip-hop inspirations like TRU, UGK, OutKast, and F.L.Y. Presented through an inspired collegiate HBCU lens, the performance later dubbed “Beychella” was less a concert and more a grand, multi-part revue. From a towering pyramid of bleachers, over 200 hand-selected performers of all shapes and sizes — dancers, steppers, choir, orchestra, and a full marching band — executed a precision-choreographed performance that pushed the limits of physicality and willpower. Together with this phalanx, Beyoncé barreled through a career-spanning set — both as a solo artist and as part of Destiny’s Child — focusing on euphoric hype tracks that maintained the adrenaline rush for almost two hours. Digested as a cohesive career retrospective, Homecoming highlights Beyoncé’s impressive vocal gymnastics and live stamina; at times, her voice soars like an angel and drops low in a guttural growl, sometimes switching from full-throated belting to gritty rapping, often within the same song. From hits (“Formation,” “Drunk in Love,” “Countdown”) to deep cuts (“Freedom,” “Bow Down,” “I Been On”), every track is improved by the energy of the Bzzzz Drumline and string section, with the live foot stomps and handclaps of the dancing team whipping the ceremony into a celebratory frenzy. “Diva” gets cut with “Dirt Off Your Shoulder,” while a rabid “Don’t Hurt Yourself” swells with the familiar orchestral wave from “Kashmir.” While J Balvin and Sean Paul are relegated to recorded backing vocals, husband Jay-Z pops in for “Deja Vu” and sister Solange joins Beyoncé for an endearing dance-off during “Get Me Bodied.” Even firstborn Blue Ivy appears on almost-closer “Lift Every Voice and Sing.” The most welcome guests, however, are Kelly Rowland and Michelle Williams. Joining forces during a jaw-dropping stretch between “Run the World (Girls)” and “Single Ladies (Put a Ring on It),” the reunited Destiny’s Child whip through “Lose My Breath,” “Say My Name,” and “Soldier” without missing a beat, as if the year was still 2004. The audience reaction alone is a pure thrill. As far as concert albums go, Homecoming is a master class in technical prowess, crowd pleasing, and soulful substance. Channeling the spirit of African queen Nefertiti (whose image she adopted for this show), Beyoncé proved to be a ruler in her own right, lording over Coachella for two career-defining nights. – Neil Z. Yeung
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Beyoncé – 4 (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 57:44 minutes | 670 MB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Parkwood Entertainment – Columbia

Beyoncé reportedly delivered over 70 songs to Columbia for her fourth solo studio album. The dozen that made the cut, combined with their sequencing, make it plain that straightforward crossover-dance singles and cohesion were not priorities. Taking it in at once is mystifying, even when little attention is paid to the lyrics. The opening “1+1,” a sparse and placid vocal showcase, fades in with a somber guitar line, throws up occasional and brief spikes in energy, and slowly recedes. It’s the kind of song one would expect to hear during an album’s second half, certainly not as the opener — not with the (fittingly) slight sonics and heavy lines like “Just when I ball up my fist, I realize I’m laying right next to you, baby.” Three additional ballads follow. Each one features its own set of collaborators and contrasts both sonically and lyrically. “I Care” rolls in on pensive percussion and low-profile synthesizer drones, surging during a cathartic chorus. “I Miss You,” alluringly bleak and hushed, is a codependent confessional. The only one that’s rote, “Best Thing I Never Had” is a bombastic kiss-off saved by Beyoncé’s ability to plow through it. From there, the album restlessly bounces between tempos and moods: a desperate midtempo chest thumper, a couple cyborg marching-band dancefloor tracks, an ecstatic early-‘90s throwback, yet more ballads. What’s most surprising is that a song titled “Party,” co-produced by Kanye West with a guest verse from André 3000, quickly settles into a low-watt groove and remains there. Wildcard interludes and a Euro-pop party-anthem cash-in would be the only ways to make the album more scattered, but the strength of most of the material, propelled by Beyoncé’s characteristically acrobatic vocal skills, eases the trouble of sifting through the disjointed assortment. No one but one of the most talented and accomplished singers — one with 16 Grammys, nothing left to prove, and every desired collaborator at her disposal — could have made this album. ~ Andy Kellman
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