Their reputation growing by leaps and bounds, including a huge underground following in the U.S. – they were able to tour there even without one domestic release available, while at one point Dead Can Dance was the biggest selling band in 4AD's history – Perry and Gerrard once again did the business with Aion. Its cover taken from Bosch, Aion's medievalism was worn more openly than ever before, with songs adapted from centuries-old material. The beautiful, entrancing "Saltarello," with lead performance by what sounds like an old wind instrument, comes from an Italian dance of the 14th century, while the mysterious moods of "The Song of the Sibyl" derive from 16th-century Catalonia. The group's command of not merely recording possibilities – witness the exquisite layering of vocals on the opening "The Arrival and the Reunion" – but of musical traditions, instruments, and more from around the world was arguably never stronger. Gerrard's vocals in particular have an even stronger, richer feeling than before, not merely able to command with its power but softly calm and seduce.

The phrase 'Lovely Thunder' suggests a beautiful sound with an undertone of menace. One need go no farther than "Gypsy Violin," the last song and centerpiece of the album Lovely Thunder, to hear how Harold Budd takes the phrase and forges a musical equivalent. Underneath the plaintive melody of the synthesized violin and an occasional foghorn-reminiscent bass note lies a bed of synth chords that are present throughout, sometimes adding notes, sometimes dropping them, sometimes moving a chord up or down a key and into dissonance with the rest. The overall result is an undulating base that never quite lets the listener settle onto firm ground, giving the song a distinct edge. Drones do figure prominently as a musical base for many of the album's other songs, yet the music is generally more akin to the reverberated keyboard treatments Budd utilized to stunning effect on his two collaborations with Brian Eno. Those looking to explore beyond The Plateux of Mirror and The Pearl would do well to give this album a listen, as they will most likely be both challenged and satisfied.

Unbearably handsome opera-pop quartet Il Divo deliver another amorous collection of European housecleaning ballads with Ancora, an album so riddled with Cupid's arrows that it requires its own storage unit. Once again, David Miller, Sébastien Izambard, Urs Buhler, and Carlos Marin bring the love in Spanish, English, and Italian, emoting over classical and opera standards, as well as some notable contemporary compositions. They fawn over Celine Dion – who can barely contain her own affections – on "Isabel," and make Mariah Carey's "Hero" sound like the rolling of credits over a Jerry Bruckheimer action/tragedy blockbuster, all the while maintaining the perfect pitch and impeccable showmanship that are their stock-in-trade.

Kristen Hayter, the classically trained multi-instrumentalist, performance artist, and vocalist known as Lingua Ignota has announced her Sargent House debut, SINNER GET READY. A graduate of the School of the Art Institute of Chicago with an MFA in Literary Art from Brown University, much of Hayter's work is centralized around abuse. A survivor of domestic abuse for much of her life, her music seeks to explore survivor hood of abuse through the vantage point of rage and despair in lieu of common approaches she views as "enforced patriarchal models of civilized femininity".

With its two sides split between Perry and Gerrard's vocal efforts, Within the Realm of a Dying Sun serves as both a display for the ever more ambitious band and a chance for the two to individually demonstrate their awesome talents. Beginning with the portentous "Anywhere Out of the World," a piece that takes the deep atmospherics of "Enigma of the Absolute" to a higher level with mysterious, chiming bells, simple but effective keyboard bass and a sense of vast space, the album finds Dead Can Dance on a steady roll. Once again a range of assistant musicians provide even more elegance and power to the band's work, with a chamber string quartet plus various performers on horns, woodwind, and percussion. Impressive though the remainder of the first side is, Gerrard's showcase on the second half is even more enveloping and arguably more successful. The martial combination of drums and horns that start "Dawn of the Iconoclast" call to mind everything from Wagner to Laibach, but Gerrard's unearthly alto, at its most compelling here, elevates it even higher.

Written and recorded by brothers Mychael & Jeff Danna between their other scoring projects, A Celtic Tale is the soundtrack to an imaginary film of the Irish legend of Deirdre. Both the album and the legend reflect many aspects of love and sorrow. The Danna brothers mix Celtic folk, symphonic, and ambient music into a distinctive and fitting setting for Deirdre's star-crossed story. Though she is betrothed to a king, Deirdre finds her true love; she and her lover are exiled. When they try to return to their land, Deirdre's lover is killed, and she is imprisoned by the king she was to marry. Love and war blend in Deirdre's story; similarly, the music combines authentic Celtic instruments such as fiddle, tin whistle, flute, uilleann and highland pipes, and wire-strung harp with orchestral power and electronic atmospherics. Both listenable and powerful, A Celtic Tale showcases the Dannas' skill for creating emotionally accessible, technically beautiful music.

Thijs van Leer is a Dutch musician, singer, songwriter, composer and producer, best known as the founding member of the rock band Focus as its primary vocalist, keyboardist, and flautist. Born and raised in Amsterdam among a musical family, van Leer took up the piano and flute as a child and pursued them at university and music academies. Van Leer achieved success as a solo artist in the Netherlands. His first two solo albums featuring classical flute, Introspection (1972) and Introspection 2 (1975), sold an estimated 1.2 million copies. He has collaborated with various artists, and continues to release albums and perform in various capacities.

Soil Festivities dates from 1984, before Vangelis was working with orchestras. Some would say that it was before he "sold out" or when he was a "real musician," but those opinions are totally subjective. It is certain that this is a different kind of work. The album features five movements, each a self-contained soundscape. Vangelis surrounds a subtle drone with heavy sequences and dense atmospheres. He uses a symphonic synth to create pastoral textures. This is a very accessible album. It will appeal to fans of Constance Demby, Wendy Carlos, Victor Cerullo, and Yanni.

Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favourites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff. Recorded at Montreux Jazz Festival in 2018, in Auditorium Stravinsky.

Mask is an e-music symphony in six movements. Vangelis is near his best on this album. He takes the best from his many different e-music personas and creates huge walls of dramatic and hypnotic sound. Vangelis combines symphonic synths, atmospheres, Berlin school sequences, choral chants, and sweet melodies in this soundscape. The mood shifts from bombastic to triumphant to mysterious to challenging and back and forth and in and out. The atmospheres weave through and around the soundscape, never losing the drama. Deep listeners will be on the edges of their seats. This great CD is like a soundtrack with no film.

From classical cover band devoted exclusively to performing Metallica's symphony-friendly epics to all purpose string ensemble interpreters of other heavy metal bands' music for the cello, to composers of original material fit to mingle with even more metallic translations, Finland's Apocalyptica had come a long way in the span of their first three albums. And, naturally, there were bound to be further innovations lined up for the band's fourth opus, Reflections, which arrived in 2003 bearing not a single heavy metal cover, and introducing several unexpected innovations into Apocalyptica's m.o., to boot. Chief among these was the addition of a drummer behind the group (recently paired down from quartet to trio), and since Apocalyptica's virtuosos would hardly stand for anything short of brilliance for such an assignment, that percussionist wound up being none other than Slayer legend Dave Lombardo…