This release from 2006 offers 78 minutes of stately music. This release in the "Analog Overdose" series features a selection of material from various live performances and studio rehearsals in 2001. These tracks are noticeably shorter than usual AO pieces (which tend to be extremely long slow-building structures). Some are around fifteen minutes in duration, but there are actually more than a few that aren't even two minutes long. This means there's more focus going on here; the compositions speedily get to the point and strut their flash. Keyboard cycles are generated, spiraling around each other with languid beauty. Patterns evolve and the interactions change accordingly. Heavenly textures descend to cloud the melodies with their regal demeanor…

This is the second album of The Sins Of Thy Beloved. Compared to their debut album, there is no change in substance, also some beautiful and sorrowful gothic doom music. But they make a little alteration, which cause their music heavier and stronger, sounds more abundant.
In their first album the guitar riff and the male growl are all beneath and behind Anita's heavenly voice. But in this album, they become more prominent and get to constitute a major part of their music. So the music itself gets more close to the metal works, the guitar riff and the drum beat are strong, the black metal style growl is clear, interspersed by the keyboard and the violin. Anita also plays an important role, but in this album, her voice is not the musical groundwork any more, but still cooperates with other instrument and male vocal excellently.

One of the finest rock & roll revival bands of the 1970s, Showaddywaddy also proved to be one of the most successful and enduring. Originally styled as a British answer to American retro-masters Sha Na Na, Showaddywaddy found themselves scooped up into the glam rock basket; indeed, at a time when rival giants Mud, Wizzard, and the Rubettes were also mining the '50s for inspiration, Showaddywaddy swept ahead with barely a glance over their shoulder. The group's run of greatest hits sounds devastatingly pure, even authentic, while further evidence of their resilience can be garnered from the fact that Showaddywaddy are regularly gigging, a full 50 years after the bandmembers first heard the music which brought them such fame.

Volume 11 of the 'Next Generation Mozart Soloists' series presents Violin Concerto No. 5 in A Major along with Piano Concertos KV 40 and KV 449. The Piano Concerto No. 3 is a very early work, derived from works by other composers, whereas No. 14 was written in 1784 by a fully mature Mozart, who was moving away from functional music towards expressing his ideas in a more dramatic structure. What links the two, says Swiss-Canadian pianist Teo Gheorghiu, is that they are both "concertos mainly joyful and optimistic in expression". French violinist David Castro-Balbi says "of Mozart’s violin concertos, No. 5 has the strongest operatic character". These two soloists are accompanied by the Mozarteumorchester Salzburg under the baton of Howard Griffiths.

One of the leading keyboard players of her generation, Sophie Yates is renowned as a performer, educator, and broadcaster.

From two players to twelve: few ensembles could respond with equal authority to the very varied demands made by this wonderful collection of Debussy’s chamber music. But then, few ensembles can stand comparison with the Nash, whose members continue to set the standards across a dauntingly wide repertoire. A realization of the Prélude à l’après-midi … for chamber ensemble adds to this album’s more familiar attractions of the string quartet and three sonatas.

Over a longer period, Krokofant has included organist Ståle Storløkken and bassist Ingebrigt Håker Flaten. With two albums, loads of concerts and raving reviews with this line-up, this constellation is over for now – and Krokofant is back again as a trio. This is of course marked with a new trio album with brand new music.

A decade is a long pause… how the world has changed since… Longtime friends and collaborators, iconic ambient composer William Basinski and sound artist/composer Richard Chartier return to LINE with 'Aurora Terminalis', their first new work together since 2015’s ‘Divertissement’ LP (Important Records, US).

New album from the South African musician + creative visionary, known for her vibrant, inimitable style + affirming lyricism. Full Moon is a collection of 12 songs which displays Sanelly's unique sonic fingerprint, joyous attitude, distinctive vocals + genre-bending hits. Recorded in multiple locations while on the road, Full Moon is an introspective yet kinetic display of her versatility. "I can make any genre, I have fun creating music because I'm not limited," she says. Its club-ready beats oscillate between electronic, afro-punk, edgy-pop, kwaito, + hip-hop sensibilities.

Throughout its Golden Age, England cultivated the masque, an elite entertainment featuring dialogue, song, and dance. As part of these spectacles, courtiers—and at times even the queen herself—often graced the dance floor. But it was hired professionals who provided the musical heart of these productions. Lutenists in particular were especially adept at creating music for any occasion. The dances, variations on popular songs, and fantasias they composed are full of versatility and virtuosity. This recording features lute works by the foremost composers of the Elizabethan-Jacobean era, with music by Dowland, Holborne, Bacheler, Ferrabosco, and other contemporaries who participated in The Queenes Maskes. For many years Elisa La Marca has been much sought after by leading specialist ensembles (Il Giardino Armonico, Il Pomo d’Oro, Les Musiciens du Prince, Zefiro etc.), with which she appears in prestigious locations, the mostly recent being the Teatro alla Scala in Milan. Here she presents her first solo album, devoted to one of her favourite repertoires.