This is a classic, the epitome of the band's early Daevid Allen phase with Ph.P.'s (pothead pixies) in full, blazing glory. In its infancy, Gong was a unique prog rock band that branched out in all directions at once while most other prog bands chose simply one path or another. Camembert Electrique is a testament to that. The band's eclectic "electric cheese" rock is a mixture of psychedelic rock, spacy atmospherics and lyrics, and doses of jazz often presented with a pop sensibility, yet always intense. From the first cut on Camembert, you are transported to planet Gong via the voice of a "radio gnome" who drops in intermittently to remind you you're not in Kansas anymore. Daevid Allen leads the band through several compositions musically (not lyrically) reminiscent of, and possibly influenced by, early King Crimson - a hard, raw-edged sound propelled by a strong guitar-sax-percussion combo…

Radio Massacre International is a trio of English musicians (Duncan Goddard, Steve Dinsdale, Gary Houghton) known for their extended concerts of epic aural excursions. Their performances are largely improvised and often veer off into areas dictated by mood, circumstance or whim. RMI's recorded output reflects the diversity and complexity of this work, which is often compared to that of the Berlin School of cosmic music that emerged in Germany during the 1970s. But RMI is not simply re-creating the music of this era, but rather further exploring and contemplating the expressional mode and the instruments that made it possible - in hopes of realizing new ideas. Their album "Solid States" is an audio document of their bi-coastal 2002 tour of the USA, including the track "Nov(embers)" recorded live on Star's End.

Though it was released over a decade later, the 22 tracks on CANNIBALISM II are a perfect match with the selections from the first volume. However, where that volume focused primarily on the group's earliest work, CANNIBALISM II directs its attentions to a broader range, covering tracks from 1968 to the group's first (temporary) breakup in 1978. Including obscure tracks like "Mother Upduff" (a musical recasting of the urban legend about the stolen grandmother's corpse), an excellent edit of the expansive "Animal Waves," and a fascinating remix melding "I Want More" and "And More" from 1976's FLOW MOTION, CANNIBALISM II functions as not only a convenient starting point for neophytes, but a handy collection for fans. Taken in toto, the three volumes of CANNIBALISM are as good a summation of this wide-ranging group's work as you're likely to find.

Paavo Järvi, Principal Conductor and Music Director of the Tonhalle-Orchester Zürich since October 2019, launches a complete recording of Tchaikovsky’s symphonies, the first in both his rich discography and that of the Swiss orchestra.
Jarvi writes: ‘When I think of the Fifth Symphony, I think of vulnerability and hope. It looks directly into our soul. It is perhaps the finest of his symphonies. The famous horn solo moves me and enriches me every time I hear it . . . Unlike the Sixth, the Fifth still holds out hope for life.’

Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development. Francesco Corti and il pomo d’oro present concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums.

Perfectly judged performances, intelligently planned recitals, informative booklet notes and, throughout, accompaniments from a true master of the art: this final release in the songs of Brahms epitomizes all the familiar virtues which have distinguished the series.

Honegger’s Une Cantate de Noël is a Christmas number with a difference. His last work and one of his most popular compositions, it was written for the Basle Chamber Choir and Orchestra in 1953. The text of the cantata is derived from liturgical and popular texts— including Psalms and part of the Latin Gloria. A notable feature is the intertwining of traditional carols in French and German: appropriate for multilingual Switzerland and also perhaps symbolizing peace among nations seven years after the conclusion of World War II. Honegger scored the cantata for solo baritone, mixed chorus, children’s choir and an orchestra including organ. The combination of the different texts and forms creates a wonderfully uplifting effect.

Killing Time is a British glam rock band Girl compilation album that was released after the band broke up. It was made with leftover tracks from the recording sessions of their two studio albums and unpublished tracks for a third studio album never released.

Phaedra 50th Anniversary Edition is a six-disc 50th anniversary boxed set featuring a remastered original album mix, along with two discs of out-takes from the recording sessions. The complete concert at the Victoria Palace Theatre in London in June 1974 (the band's debut live appearance in the UK). The box also features an illustrated book with a new essay by Tangerine Dream authority Wouter Bessels. Originally released by Virgin Records in February 1974, Phaedra is one of Tangerine Dream's most successful and acclaimed albums, spending 15 weeks on the UK charts upon it's release. Recorded at The Manor studios in November 1973, it was the band's first album for Virgin and also the record first to feature their classic sequencer-driven music.

Rock of Ages (Original Motion Picture Soundtrack) is the soundtrack to the 2012 film Rock of Ages based on the rock jukebox Broadway musical of the same name. The soundtrack is a collection of music from 1980s rock artists including Def Leppard, Journey, Scorpions, Poison, Foreigner, Guns N' Roses, Pat Benatar, Joan Jett, Bon Jovi, Twisted Sister, Whitesnake, REO Speedwagon, and others. The songs were performed in the film, by Julianne Hough, Diego Boneta, Russell Brand, Alec Baldwin, Paul Giamatti, Catherine Zeta-Jones, Malin Åkerman, Mary J. Blige, Bryan Cranston and Tom Cruise. The soundtrack was released by WaterTower Music on June 5, 2012 and was commercially successful, becoming the second-best selling soundtrack of the year, behind The Hunger Games: Songs from District 12 and Beyond (2012). It was further nominated for the Best Compilation Soundtrack for Visual Media at the 55th Annual Grammy Awards.

Ronnie James and his latest version of Dio roll out another collection of songs on Killing the Dragon, steeped in the requisite medieval imagery he loves to use. The songs and the sound remain the same throughout, and as far as Dio is concerned this can be both good and bad. From the beginning he takes listeners down a familiar route with "Killing the Dragon," which begins with a sinister intro and quickly kicks in with a classic metal guitar riff - formulaic yes, but definitely rocking. The song's subject is the computer ("small gods with electrical hearts"), referred to as the dragon, and how it is now "time to be killing the dragon again." Dio's voice is in fine form, as is the musicianship of his current lineup, including the latest addition of Doug Aldrich on guitar, who successfully captures the classic Dio sound…

If you're looking for a recording of Locatelli's complete Opus 8 Violin Sonatas, look no further. These 1994 recordings by the aptly named Locatelli Trio are not only superbly played and beautifully recorded, they have the singular virtue of being the only available recordings of the works. That's alright: with violinist Elizabeth Wallfisch at the helm, they are uniformly first-rate performances. Wallfisch is herself a superior period instrument player who balances the virtuoso demands of the music with its undeniable melodic charm and harmonic invention, and she leads cellist Richard Tunnicliffe and harpsichordist Paul Nicholson in performances that amaze as well as delight the listener. Furthermore, when the trio becomes a quartet with the addition of violinist Rachel Isserlis for the final four sonatas for two violins and continuo, the best gets even better through the brilliant interplay of two skilled soloists. For lovers of virtuoso violin music of the Italian High Baroque, this is as good as it gets. Hyperion's sound is crisp but warm, detailed but deep.

After the much-discussed, uncompleted Smile project - which was supposed to take the innovations of Pet Sounds to even grander heights - collapsed, the Beach Boys released Smiley Smile in its place. (To clarify much confusion: Smiley Smile is an entirely different piece of work than Smile would have been, although some material that ended up on Smiley Smile would have most likely been used on Smile. Also, much of Smiley Smile was in fact recorded after the Smile sessions had ceased.) For fans expecting something along the lines of Sgt. Pepper's (and there were many of them), Smiley Smile was a major disappointment, replacing psychedelic experimentation with spare, eccentric miniatures. Heard now, outside of such unrealistic expectations, it's a rather nifty, if rather slight, effort that's plenty weird - in fact, it's often downright goofy - despite Brian Wilson's retreat from both avant pop and active leadership of the group…