The legendary Death Metal icons Obituary return with their highly anticipated new album, Dying of Everything.
Dying Of Everything destroys in the time-honored tradition of early Obituary classics Slowly We Rot and Cause of Death while maintaining the killer studio sound that the band has been perfecting in their own studio since 2007’s monstrous Xecutioner’s Return.
You can hear the results on lead single “The Wrong Time” which boasts a slamming mid-tempo groove. Meanwhile, the title track boasts punishing riffs and songwriting by Ken Andrews. The album’s third single, “My Will To Live,” is a total skull-crusher…

Cosi fan tutte"Of the numerous recordings of Cosi fan tutte in the catalogue, many of them excellent, I don't think there is any that has moved me as intensely at the work's ultimate climax, the Act 2 finale, as this new one of John Eliot Gardiner's. Nowadays we recognize, of course, that Cosi is not the frivolous frolic at the expense of womankind that it was long supposed to be, but something much more serious and (in my view at least) deeply sympathetic to women. Gardiner takes much of the finale at a rather steady pace, allowing plenty of time in the canon-toast for a gorgeous sensuous interplay of these lovely young voices, then carefully pacing the E major music that follows, pointing up the alarmed G minor music after the march is heard and sustaining the tension artfully at a high level during the denouement scene: so that, when their vow of undying love and loyalty, 'Idol mio, se questo e vero', is finally reached, it carries great pathos and emotional weight, and the sense too that all are chastened by the experience is evident in the ensemble that ensues.

This was a collaboration between English composer and producer Chris Evans (aka Christopher Evans-Ironside) and American-German singer David Hanselmann. Evans had already been involved in the field of Disco Music, while Hanselmann was a regular collaborator in German/Austrian groups, even if this came during their fading days, like Message, Triumvirat and Eela Craig. They appeared in 1980 with the album ''Stonehedge'', recorded at the Europa Sound Studios in Friedrichsdorf and the Star Studios in Hamburg, released on the WEA label, all orchestrations are credited to Evans, while Hanselmann provided lead vocals. The album features also drummer Dicky Tarrach, formerly of Brave New World, bassist Tissy Thiers, keyboardist Ludwig Rehberg and guitarists Juergen Schroeder, Reinhard Besser and Roy Louis, the later being a member of Passport…

Sarah Vaughan, Peggy Lee, Doris Day, Anita O'Day, Billie Holiday, Lena Horne, Ella Fitzgerald, Marilyn Monroe and many others.

This trio incorporate elements of Berlin school electronics with Prog/Krautrock and are a force to be reckoned with in a live setting. "Septentrional", their inaugral release on the DiN label see’s a new approach co-ordinated by DiN label boss Ian Boddy. RMI recorded a series of three hour long improvisations which they handed over to Boddy in multitrack form. These were then sifted through, extensively edited - often in a non-linear fashion, re-mixed with the addition of synthetic percussion layers on three of the five tracks and finally reassembled by Boddy into five new pieces. The result is still definitely an RMI sounding album and captures the feel and spirit of the band but filtered through the sonic excellence listeners have come to expect from this innovative label.

Sammartini had a long and active musical career, working as maestro di cappella or organist in as many as ten different churches, yet surprisingly few of his sacred compositions survive. In the sacred cantata Gerusalemme sconoscente ingrata, set to a text from another of his cantatas, La perfidia giudaica nella SS. Passione di Gesù Cristo, vocal texture is dominated by a typically Italianate melodiousness and virtuosity, while the orchestral writing is full of daring harmonies, sparkling themes, and an inexhaustible wealth of ideas.

Música Callada (Music of Silence) is a very special work, one of the most beautiful and elusive in the entire piano repertoire. It is extremely difficult to perform. On the one hand, there’s the temptation to stretch each piece out hypnotically, if monotonously, while quicker speeds preserve the music’s melodic essence at the expense of much of its atmosphere and harmonic richness. For although much of the music is indeed quiet, and none of it moves quickly, it is all meaningful. Mompou himself found the perfect balance between incident and repose, and of all the pianists since, Jenny Lin arguably comes closest to doing the same, only in much better sound. It’s not so much that her tempos match Mompou’s own (she’s actually not copying him–it would hardly be possible in a work containing 28 individual pieces), but rather that her phrasing and sense of timing let the music breathe and sing with its own special poetry. To take just one example, consider the sadness that Lin finds in the fourth piece, “Afflitto e penoso”, by allowing the piece’s harmonic color time to speak simply and eloquently.