Fitting her reputation for interpreting the keyboard repertoire in a big way, Hélène Grimaud presents her first recording of J.S. Bach's works with transcriptions by Ferruccio Busoni, Franz Liszt, and Sergei Rachmaninov, which were all intended to update the music for the modern grand piano. Because Grimaud's style is direct and robust, reminiscent of Martha Argerich, and the transcriptions are dramatically more pianistic than the originals, Bach purists should look elsewhere for more meticulous and historically informed performances of these Baroque pieces, perhaps on fortepiano or harpsichord.
Central to Hélène Grimaud's first live album for Deutsche Grammophon is the significance she finds in the slow movement of the Piano Concerto No. 23 in A major, K. 488, of Wolfgang Amadeus Mozart. This movement is a touchstone for her, insofar as she regards it as the most sublime music, "where you find the real Mozart." She has also stated, "Even if this movement were all we had, that would be enough." Because of the emphasis Grimaud places on this poignant Adagio in F sharp minor, listeners may be tempted to cut to the chase and skip the other tracks to hear her interpretation.
Passing from ’Credo’, the title of her first DG recital, to ‘Reflection’, Hélène Grimaud presents us with a second lovingly themed gift, this time mirroring the entwined love of Robert and Clara Schumann and their adored protégé, Johannes Brahms. Sumptuously presented (there are 13 photographs of the pianist) and recorded, few tributes could be more committed.
NE OBLIVISCARIS' third album, 'Urn' is bound to be a career defining moment. The Australian extreme prog shooting stars have honed and re-balanced the key elements of their unique sound to a razor sharp musical edge. The dynamic entwining of fierce growls and emotive clean vocals, the contrast between devastating et intricate guitar riffs and thundering drums against an unleashed violin and gorgeous string parts as well as the perfect blending of epic progressive and intense extreme metal forms of expression are all marking a new peak in the steep rise of the band.
Georges Brassens was a French singer-songwriter and poet. He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. In 1967, he received the Grand Prix de Poésie of the Académie française. Between 1952 and 1976, he recorded fourteen albums that include several popular French songs such as Les copains d'abord, Chanson pour l'Auvergnat, La mauvaise réputation, and Mourir pour des idées. Most of his texts are black humour-tinged and often anarchist-minded.
For those who have yet to delve into Yuri Gagarin's work, this is a Swedish instrumental space rock group that quickly managed to assemble a loyal underground following from the moment their self-titled debut was released in 2013. The band's formula isn't very intricate, relying instead on the huge atmosphere the instruments create. Also, repetition is essential in this type of music, as it manages to induce you in a lovely trance, while they work wonders.
Two years later, Yuri Gagarin are back with a sophomore effort, entitled At The Center Of All Infinity. The sweeping echoes give way to 'The New Order', taking off in a characteristic fashion: the bass and drums get locked in a circular pattern, whereas the guitars start floating around…