20th studio album by the German heavy metal band formed by vocalist and bassist Mat Sinner. The heavy metal world has produced quite a few legends. But none is like Mat Sinner. So much conviction, lifeblood and self-sacrifice, so much pure heavy metal spirit, so much dedication is usually not found bundled in a single person. Since 1982 he fronts the band named after him, with which he now triumphantly returns in the form of "Brotherhood": a massive album, whose title is as self-explanatory as the mission of its creator. Self-produced and mixed/mastered by Jacob Hansen (VOLBEAT, among others), it is a record that carries the band's internal brotherhood under its heart as much as the brotherhood of the worldwide heavy metal following.

For some years the Third Symphony was a repertory piece, at least on BBC programmes, but it fell out of favour in the late 1950s. Commentators have noticed a certain Sibelian cut to its opening idea (with woodwind in thirds) but everything else strikes you as completely personal.

Jolliver Arkansaw was the group originally known as Bo Grumpus – they were a quartet formed in Boston as the Bait Shop, who moved to New York and took the name Bo Grumpus at the suggestion of producer Felix Pappalardi and his wife. They recorded one highly regarded album on Atco under that name before a label switch to Bell Records led to legal complications that forced them to relinquish the name Bo Grumpus. "Jolliver Arkansaw" was the new name under which the group – Eddie Mottau (guitar), Joe Hutchinson (guitar, keyboards), Jim Colegrove (bass), and Ronnie Blake (drums) – recorded their next album, Home, which was released in 1969. The group broke up early the next year. Mottau, Hutchinson, and Colgrove have all enjoyed long subsequent careers in music.

More than any other Fleetwood Mac album, Tusk is born of a particular time and place – it could only have been created in the aftermath of Rumours, which shattered sales records, which in turn gave the group a blank check for its next album…

This is the second recording for Quartz from Olwen Morris, offering a cross section of works from the Classical period through the early Contemporary. Olwen Morris grew up in war-time rural Wales, where she was first taught by Josef Gruenbaum, a musician and lawyer from Stuttgart, who with his family had fled Nazi Germany. Olwen made extraordinary progress, and enrolled at 14 as the youngest student at Cardiff College of Music, (later becoming the Royal Welsh College of Music and Drama). She soon made her first early live broadcasts, including a concerto with the BBC Welsh Orchestra, and debut concerts in Cardiff's City Hall and Reardon Smith Theatre. Teaching, directing church music, organ improvisation and chamber music have all played parts throughout a lifetime in music, but solo playing continues to remain the vital center of it all. Her performances of the Viennese classics are remarkable for their insight and depth, and her playing of French music for sensitivity to sensual sound, also reflecting her long close association with northern France, where her artist husband, David Morris painted.

Blues singer Shakura S'Aida (pronounced "Shack-oora Sigh-ee-da") was born in Brooklyn and raised in Switzerland before settling in Toronto. She first began singing professionally with a Toronto band called Mystique, after which she worked with the world music band Kaleefah. Simultaneously, she pursued a legitimate stage career, appearing in Canadian productions of such shows as Ain't Misbehavin', and acted on television and in films. As a singer, she provided backup vocals for Patti LaBelle, performed in a Ray Charles tribute band, and appeared on albums by Bill King and Saturday Nite Fish Fry.

"I couldn't have imagined a better constellation for my first album!" says Cristina Gómez Godoy about her first recording. She has chosen this repertoire because these pieces made her fall in love with the instrument and music. As a musician in Daniel Barenboim's Berlin-based orchestra, she feels very privileged to have recorded her first album with him, accompanied by the West Eastern Divan Orchestra, with whom she has played for many years.

The motets of Johann Ludwig Bach occupy an outstanding position within this genre. Though rooted firmly in the shorter motets from the Thuringian tradition, nonetheless they reach dimensions which are seldom observed in that tradition. This is also true with respect to polychoral music, which here is raised from the exception to the rule – on the other hand, it is valid, when one bears in mind the necessity of representing the prestige of a royal court. Varying ensembles and dialogue-like passages contribute to these richly expressive compositions. Without a doubt these motets by the “Meininger Bach,“ highly regarded by J. S. Bach, are a treasured enrichment of the repertoire.

Ivor Bolton has been principal conductor of the Basel Symphony Orchestra since the beginning of the 2016 / 17 season and has always had a special affinity with British music. The present album with rather unknown music by Benjamin Britten was therefore a very special concern for him from the beginning. The program consists of the early cycle Our Hunting Fathers (with the tenor Mark Padmore), the Quatre Chansons francaises (a stroke of genius by the only 14-year-old) and the suite from the unfortunately rarely performed opera Gloriana, which, by the way, was written for the coronation of Queen Elizabeth II.

The ensemble Dionysos Now! present the wonderfully captivating vocal polyphony of the Renaissance: the repertoire of Adriaen Willaert, born in Roeselare (Belgium), founder of the Venetian School.