Behemoth's ascent is a story that can be told in many ways and from many perspectives. When one writes about a band that has written and rewritten the book on extreme metal for over 30 years that much is inevitable. However, it would be difficult to really capture the story's essence without focusing on the ambition and power which drive the band. While both power and ambition, as terms, can be tied in some way and some meaning to every story - their interpretation here is exact and carefully chosen. Ambition is the charioteer, navigating ever forwards to new horizons and visions and power are the horses, without whose prowess those horizons would be but a distant dream.
The new opus, The Shit Ov God, is emblematic of that. Here's a band that, 34 years in, is releasing it's most inflammatory and extreme record to date…

Tot ver in de achttiende eeuw was de luit hét instrument van de Europese adel. De beste renaissance- en barokcomponisten schreven talloze werken voor het instrument. Een van de beste luitisten van dit moment, Christopher Wilson, maakte een prachtige keuze uit het enorme luitrepertoire uit de Franse renaissance. Verfijnd, rustgevend en sfeervol.

Written by a young and ambitious Chopin as self-promotional vehicle to demonstrate his performance capabilities and, to a lesser degree, his compositional skills, the two piano concertos have remained as an important part of the instrument's repertoire. Often derided for their somewhat trite orchestral parts, these concertos are nevertheless beautiful, thoroughly enjoyable works. While there are countless recordings of the piano works of Beethoven and Mozart on period instruments, this inclination has found its way to Chopin's works with less frequency. This album, produced by The Fryderyk Chopin Institute, makes use of an 1849 Erard fortepiano made in Paris, very similar to the instruments Chopin himself would have used.

Konjovic is the most significant representative of the nationalism of the Serbian modernism in music. His most famous works are his operas. The period between two world wars was defined by Konjovic who introduced several genres into Serbian music. His Czech experience encouraged his natural inclination toward folk sources and he began developing melodies, like Janacek, out of the inflection of speech. Konjovic's mature style strives for direct communication with broad audience while incorporating a sophistical harmonic vocabulary. His work includes over one hundred folk songs arrangements and twenty original choral pieces.

Memento Mori (stylised as "Memento | Mori" on the album cover) is the fifteenth studio album by Depeche Mode, released on 24 March 2023, through Columbia and Mute. The album was produced by James Ford and Marta Salogni. It was preceded by the single "Ghosts Again" and the track "My Cosmos Is Mine" (released on streaming platforms), and is the first Depeche Mode studio album to be released after the death of co-founder and keyboardist Andy Fletcher on 26 May 2022. The album is promoted by the Memento Mori World Tour.

Future World is the second album by the Danish hard rock/heavy metal band Pretty Maids. The album was released by CBS in 1987. The album charted at number 165 on the Billboard 200 in the United States. Future World was produced by Eddie Kramer, who was fired during the recording sessions because he fell asleep at the mixing console, according to guitarist Ken Hammer. The band then finished the album with engineer Chris Isca, who was credited as co-producer on the album. Mixing duties were shared between Metallica, Rainbow and Morbid Angel producer Flemming Rasmussen, and Kevin Elson, known for producing multiplatinum albums by Journey, Mr. Big and Europe.

This disc is a sequel to the Hommage à Bach release by German pianist Andreas Staier, likewise devoted to the music of Schumann. Here Staier devotes himself to Schumann's late music (from his last year or so among the sane), playing the Gesänge der Frühe, Op. 133, himself, and taking on violinist Daniel Sepec for the two violin sonatas and Schumann's arrangement of Bach's Chaconne (here "Ciaconna") from the Partita for unaccompanied violin in D minor, BWV 1004. Both players use historical instruments, Staier's 1837 Erard is the same piano that's heard on the earlier release, and it's safe to say that those who enjoyed Hommage à Bach will also find much to admire here, even though the two performances are quite different in overall effect.

This is a very compelling performance of Tchaikovsky's Op.44. Perhaps too expansive for my taste, but skilfully well played and always convincent. Postnikova and Rozhdestvensky make a good match in this music and as a great advantage, they chose the composer's original version. While she is known to many for her recordings of the complete piano output of Tchaikovsky and all five piano concertos of Prokofiev, Viktoria Postnikova has played a broad range of solo, chamber, and concerto repertory, from J.S. Bach and Haydn to Chopin, Rachmaninov, and Shostakovich. In addition, Postnikova has played less traditional fare by Busoni, Ives, and Janácek, and contemporary works by Schnittke and Boris Tishchenko.