The peak of the band's industrial-gone-mainstream fusion, and still one of the best electronic music albums yet recorded, Some Great Reward still sounds great, with the band's ever-evolving musical and production skills matching even more ambitious songwriting from Martin Gore. "People Are People" appears here, but finds itself outclassed by some of Depeche Mode's undisputed classics, most especially the moody, beautiful "Somebody," a Gore-sung piano ballad that mixes its wit and emotion skillfully; "Master and Servant," an amped-up, slamming dance track that conflates sexual and economic politics to sharp effect; and the closing "Blasphemous Rumors," a slow-building anthemic number supporting one of Gore's most cynical lyrics, addressing a suicidal teen who finds God only to die soon afterward…

Conductor Domingo Hindoyan introduces us to a selection of beautiful orchestral works by his countrymen from Venezuela. Most, if not all the composers will be new names to many, but their music is extraordinary. Spanning the 20th century, the works are tonal, romantic, colorful, and, in places, the rhythmic vitality of the Venezuelan countryside, towns and cities is unmistakeable. This album is a voyage of discovery, and Domingo Hindoyan and the Royal Liverpool Philharmonic Orchestra are the best of guides on this extraordinary journey that will leave listeners captivated and beguiled.

Canadian hard rockers Harem Scarem are finally back with their anticipated return album "Chasing Euphoria", their first new album in 5 years. Their new record is an absolute belter for all Melodic Hard Rock fans and shows clearly why, when a discussion arises on who are the current heavyweights of the melodic hard rock scene, the list of names being bantered about cannot avoid a mention of Harem Scarem.
"Chasing Euphoria" brings back the band’s classic sound and shows a band at the top of their game. A cohesive unit still able to deliver a power-rock-packed punch, swaggering riffs, and hooks to die for. Harry Hess and Pete Lesperance, without a doubt, show the world that their partnership still works!

This recording of chamber works by Ravel performed by Renaud and Gautier Capuçon and Frank Braley may not be the most electrifying, but it has a richness of feeling and movement that draws the listener along for a thoroughly enjoyable ride. The opening of the Piano Trio is delicately ethereal and atmospheric, but then it builds to grand heights. The second movement sways and flows in continuous waves, and the third arcs in a way similar to the first movement.

This CD is markable reissue of very rare first LP of Somei Satoh. Like several other composers of his generation, Somei Satoh has an affinity for mysticism and meditation, and he attempts to convey stillness and timelessness in his extremely slow music. His works may be described as ambient, but their minor key harmonies and step-wise melodies seem more conventional than the blurred, unearthly sonorities usually found in that atmospheric genre.

It is a joy to have access to these two performances of the Goldberg Variations. Choosing between the American interpreters is not an easy task. Edward Aldwell is not a name familiar to many in Britain, but the fact that historical specialists Biddulph have chosen to record a new disc with him should alert us to the fact that here is something of rare quality. At times, Aldwell’s interpretation feels like one long meditation: his tempi are somewhat slower than most, he observes every repeat and no note is touched with less than total care.

Recording the “Seis libros del Delphín” has been a long-held wish of the Argentine guitarist Pablo Márquez, who came to Europe almost twenty years ago to study renaissance repertoire and to delve into contemporary treatises on performance practice. “Troughout my artistic development, Luys de Narváez has remained a passion of mine, never failing to move me with the mystical nature of his music and the crystal clarity of his discourse”, he writes in his performer’s note to the present album which marks his debut on ECM New Series.

In nearly all his pieces, Duphly presents two contrasting images—the bold and brazen virtuoso, and the wistful dreamer. The one exploits the compass of the harpsichord with scales and dense chords while the other enchants with delicately voiced textures. Only occasionally, as in pieces such as the fiercely passionate ''Medee'', or the elegant ''Les Graces'', does one mood prevail. Nimbly shifting back and forth between these extremes within pieces (as, for example in ''La larare'' or ''La d'Hericourt'') and between them presents a formidable challenge to any performer.

‘Origins Of Aggression’ will be a very special double album to celebrate the formation of the band and the 40th anniversary of Onslaught's debut album “Power From Hell”. ‘Origins of Aggression’ will contain a total of 22 tracks in a double album format.
Disc 1 contains re-recordings of the most important Onslaught tracks from the early years, while disc 2 consists of punk and metal cover versions that have made Onslaught the band they are today: Songs that were jammed during rehearsals, songs that inspired the musicians to play an instrument. A fascinating musical journey through the band's origins.

Although Ella Fitzgerald worked in many different settings, from big bands to guitar-and-voice duets to sets with nearly every piano player in the business (from Duke Ellington on down), one could make a case that her best recordings were made with Oscar Peterson and his small bands. Released in 1976, Ella and Oscar is one of those classic recordings, an album that's as spare and intimate as any that the pair ever issued. In fact, the only other performer featured on this set is Peterson's longtime bassist Ray Brown, whose contributions are minimal. These songs, from the mellifluous "Mean to Me" to a languid "April in Paris," are simple and beautiful.