Heavy metal and the holiday season might not seem like the most obvious pairing. But there’s nothing wrong with loving both, as Rob Halford is here to prove. The legendary Judas Priest frontman and solo artist loves Christmas more than you could know. And for his second Christmas-themed album—coming a decade after his first, Winter Songs—he’s given traditional carols a metal makeover, alongside four new original songs. Chances are you already know the centuries-old melodies of “Joy to the World,” “Deck the Halls,” and “Hark! The Herald Angels Sing.” But you’ve never heard them quite like this, all speedy, chunky riffs and wild guitar solos. Still, it’s feel-good, sweetly melodic, and (mostly) family-friendly, especially during gentler moments such as the organ-driven “The First Noel” and the epic original closing hymn “Protected by the Light.” Written and recorded by a group that includes Halford’s brother and sister, Nigel and Sue, his nephew Alex (whose father is Judas Priest bassist Ian Hill), and guitarists Robert Jones and Jon Blakey, it’s truly a festive family affair.

Complex re-release of the most remarkable and worldwide sought after series The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The third box contains Vol. 9 to Vol. 11 and two bonus CDs. The relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on 'Dark Side Of The Moog, Vol.8' (will be released in the second Boxset) - the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset).

In addition to its work with early music, Finnish Baroque Orchestra (FiBO) regularly commissions and gives premiere performances of works by living composers. The natural continuation of this work is the current disc, a document of just some of the music written for period instruments so far during the 2010s. The Helsinki Window disc, the second release in the FiBO Records series, offers a musical window into FiBO’s openminded approach to creating art, and it presents the rich world of contemporary music written for period instruments through four very different works by Jukka Tiensuu, Perttu Haapanen and Sarah Nemtsov.

The full-blown rock opera about a deaf, dumb, and blind boy that launched the band to international superstardom, written almost entirely by Pete Townshend. Hailed as a breakthrough upon its release, its critical standing has diminished somewhat in the ensuing decades because of the occasional pretensions of the concept and because of the insubstantial nature of some of the songs that functioned as little more than devices to advance the rather sketchy plot…

One of the most difficult things to achieve in the art of musical performance is simplicity. The balance between technical skills and the spirit of the music is an elusive goal. I am very pleased to hear that Anat Cohen, Dudu Maia, Douglas Lora and Alexandre Lora have brilliantly achieved that goal in Alegria da Casa, the recording that I am listening to right now.

Following her outstanding performance in collaborative work with Jon Balke and Jon Hassell on the “Siwan” recording of 2007/8, Moroccan-born singer Amina Alaoui presents her own border-transcending project. When Alaoui sings there is “no need to discuss the origins of fado, flamenco or Al Andalusi” for the music itself explores the common crucible of the styles, and Amina’s delivery makes the interconnections impossible to miss. She is superbly accompanied by her outstanding ensemble in which violin often echoes the voice, and oud, flamenco guitar and sparkling mandolin surround it. Guitarist Jose Luis Montуn from Barcelona has a strong following amongst flamenco adherents worldwide.

Since their founding in 1993, heavy metal templars HammerFall have fought to continue the legacy of ’80s heavy metal, smithing more than ten full-length records and establishing themselves as Sweden’s and Europe’s premier heavy metal masters. Their latest album, Dominion, delivers an epic powerhouse that easily contends with their early material in terms of quality and heart.
If you judged explicitly by this album, you’d have no idea that these guys are approaching 50. In between each chanted, arena-sized anthem, Joacim Cans‘ sharp, impactful vocals ring as clean as ever…

Forest Field is an international project that succeeds in making a exciting combination of progressive and melodic rock and new age / ambient sounds. Like a critic said: You remember those moments when you hear something so good, that the hairs stand up on your arms? Those goose bumps of magical grace and power are unleashed upon you right now! Firm believers that music knows no boundaries, the band sets out to create fantastic music with moods for many occasions. No limits, no formula. Never standing still or content to take things for granted, but always open to experiment! Key features are stunning vocal harmonies, inventive arrangements with daring combination of styles and impressive playing.

The main idea is that behind Heavy Metal and Rock ‘n’ Roll is solely the Blues influence. That’s not true and not fair with reality, because the seminal genres that are (along with Blues) behind the things are Country, Gospel, Rhythm & Blues and some others. So these genres unleashed a great diversity into Rock ‘n’ Roll womb. And that diversity can be heard on the Swedish quartet CIRKUS PRUTZ, and a hearing on “White Jazz - Black Magic - More Stories From the Left Hand Path” is enough to have this idea…

Trombone Grande: Music for bass sackbut around 1600 - Oltremontano, Wim Becu (2012) {Accent ACC 24263}
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© 2012 Accent | ACC 24263
Classical / Renaissance / Baroque / Chamber Music / Bass Trombone

Wim Becu plays on a bass trombone made in 1994, based on a 1640 instrument. No fanciful programs here. This is simply music emphasizing the bass sackbut, the so-called trombone grande , composed around 1600. It was at the time among the most popular of ceremonial instruments, both for noble and civic use, as numerous surviving inventories and payment schedules of the period attest. These things change, of course, and by the end of the 17th century the entire trombone family had faded away—not to reappear on the international stage until 100 years later, in a different role, associated with the tonal expansion of the modern orchestra. (Both Gluck and Mozart set the trombone to accompany Don Giovanni on his trip to hell, but the instrument had a two-way ticket.)

When Kevin Godley and Lol Creme left 10cc in 1976 to pursue a solo career, many thought it was the death knell for the group. However, Eric Stewart and Graham Gouldman kept the group alive as a duo (with the assistance of percussionist Paul Burgess) and turned in a surprisingly solid album with 1977's Deceptive Bends…

Bill Evans - Half Moon Bay (1973) {Milestone MCD-9282-2 rel 1998}
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© 1973, 1998 Milestone / Fantasy | MCD-9282-2
Jazz / Post Bop / Modal Music / Piano

Yet more Bill Evans live dates continue to flood the landscape posthumously, but this one was recorded under most inviting and unusual conditions. The locale was Pete Douglas' Bach Dancing and Dynamite Society, a second-floor, 250-seat rumpus room overlooking the Pacific near Half Moon Bay, CA, whose wood-paneled ambience and nine-foot Steinway D piano inspired some of the better live work from Evans during this period of his life. Again in his favored trio format, with bassist Eddie Gómez (who gets ample solo room) and drummer Marty Morell in totally simpatico communication, Evans gives himself opportunities to swing hard as well as traffic in his patented mode of harmonically complex introspection.