With Kim Simmonds and Chris Youlden combining their talents in Savoy Brown's strongest configuration, 1969's A Step Further kept the band in the blues-rock spotlight after the release of their successful Blue Matter album. While A Step Further may not be as strong as the band's former release, all five tracks do a good job at maintaining their spirited blues shuffle. Plenty of horn work snuggles up to Simmonds' guitar playing and Youlden's singing is especially hearty on "Made up My Mind" and "I'm Tired." The first four tracks are bona fide Brown movers, but they can't compete with the 20-plus minutes of "Savoy Brown Boogie," one of the group's best examples of their guitar playing prowess and a wonderful finale to the album.

The Leipzig Gewandhaus Orchestra and their Music Director Riccardo Chailly have already acquired legendary status – glorious reviews and many awards for their recordings testifying to their continuing success. At Leipzig’s International Mahler Festival, to mark the centenary of Mahler’s death, they performed his monumental Second Symphony in the Gewandhaus – together with two marvellous soloists and choral forces quite beyond compare. About the final movement the composer said: “The increasing tension, working up to the final climax, is so tremendous that I don’t know myself, now that it is over, how I ever came to write it.”

Music in Germany in the later 19th century found itself divided into two camps; the modernists, led by Liszt and Wagner, and the traditionalists who took Brahms as their model and who upheld the values of the classical period and Beethoven in particular. Fuchs and Kiel are very much in the later camp and both spent their lives in academic posts, as so often befits such establishment figures. They each wrote only one piano concerto and, as one might expect, these are not vehicles for empty virtuoso display but rather 'symphonic' concertos, both written in the traditional three movements, the first of which is a weighty sonata form allegro.

The dynamic young French-Canadian conductor records the symphony that has played a central role in his remarkable career.brbrYannick Nezet-Seguin first heard it live in Montreal at the age of eight. It was the work he chose for his debut with both the Orchestre Meetropolitain du Grand Montreeal and the Philadelphia Orchestra.brbrConducting this quintessentially Russian music with the Rotterdam Philharmonic acknowledges his predecessor on the podium, Valery Gergiev, as well as showcasing the depth and refinement of the Dutch orchestras rich textures.brbrYannick Nezet-Seguin admires Tchaikovsky not just as a composer of heart-breaking melodies but also as a master symphonist.

After releasing their vibrant fifth studio album,Viridian in 2020, TEMPERANCE – maestros of modern melodic/symphonic metal delight their devotees with the persuasivnew offering Diamanti, to be released on November 19, 2021 via Napalm Records. With Diamanti, the exceptionally skilled Italian outfit once again showcases their extraordinary ability to merge brilliant vocal melodies, hefty power metal guitar riffing and symphonic soundscapes in perfect harmony – all dressed in modern surroundings. This an offering fans of bands like Amaranthe will fall in love with immediately!

With their latest chart-topping studio album, Wanderers (2019), and the recent release of their first ever live BluRay/DVD, A Symphonic Journey To Remember, symphonic metal visionaries VISIONS OF ATLANTIS have, without a doubt, proven that they are on top of the scene. Now, the band sets sail on another adventurous journey and new exciting chapter, marking a turning point of their discography with the upcoming album, Pirates, out May 13, 2022 via Napalm Records. With their eighth full-length, VISIONS OF ATLANTIS deliver their most confident and honest record so far, proving that they have definitely stopped wandering to finally unleash their rebellious side and a free spirit untamed as the seven seas. The band invites its listener to join on a marvelous ride through intriguing soundscapes and hauntingly beautiful melodies along with smashing symphonic heaviness, that musically and lyrically embodies a form of transition and self-discovery.

Animus is the third album by the Italian power metal band Moonlight Haze. Moonlight Haze is a power symphonic metal band from Italy founded in 2018 by Chiara Tricarico and Giulio Capone, vocals and drums/keyboards respectively. The lineup also includes Alessandro Jacobi (also bassist of Elvenking) and Alberto Melinato and Marco Falanga on guitars. Lyrically-wise it's an introspective and intimate work, but at the same time it looks at the world outside - willing to bring a bright message of vitality and rebirth. Hence the title, 'Animus', a Latin word that has different meanings: vital force, conscience, soul, mind and courage as well. The album was released on March 18 via Scarlet Records.

Following their critically acclaimed Creation Records’ debut, The House Of Love signed to Fontana and embarked on four years of non-stop recording and touring that would take them into the mainstream. Produced in association with founder, frontman and principle songwriter Guy Chadwick, ‘Burn Down The World’ takes an in-depth look at that period in the band’s career, both in the studio and onstage. Featuring countless never before heard demos, lost tracks and live recordings sourced from Fontana’s archive, alongside rare fan club-only releases, compilation appearances, promotional versions and tracks never before available on CD, and accompanied by the thoughts of Guy Chadwick, ‘Burn Down The World’ sheds new light and insight on a rollercoaster ride which took House Of Love from indie darlings to mainstream globetrotters.

What Remains is a dynamic confluence of sonic worlds — four interconnected passages that venture from analog-sequencer driven elegant futurism, to yearning and mysterious tribal ambient, to conclude with the heart-wrenching, pure-atmospherics of the title track. This sonic odyssey reveals a masterful culmination of the different electronic musics Roach has developed and explored over the last forty years.

Hélène Jourdan Mourhange met Ravel for the first time after a concert in which she performed his Trio. She was an interesting, intelligent woman, well versed in the arts and culture of her time, and was a talented violinist who, however, had to stop playing years later due to rheumatoid arthritis. She then dedicated herself to musicology, reviews and other artistic activities. Not only that she was, like me, a violin player, but also shared that same disease, which I suffered in my youth. This has made me feel even closer to Ravel, and to feel a desire to make a tribute to Hélène by recording all the pieces written for her and thanks to her.

Gity Razaz was born in Tehran, where she spent her formative years before moving to the United States in 2002. Razaz’s identity as an immigrant is integral to her artistic work, in terms both of the subject matter that attracts her and the musical structures she employs. The relationship between the grounded and the ephemeral inhabits much of her music: her choice of titles reveals a poetic sensibility, but her music is never purely cerebral. Instead it is often anchored by the visceral, as with the punchy rhythms and earthy colours of The Strange Highway for cello octet. That piece, which has given name to the album, takes its inspiration from a poem by the Chilean author Roberto Bolaño.