Owen Rees leads early-music consort Contrapunctus alongside The Choir of The Queen’s College, Oxford in performances of John Taverner’s masterwork, the Missa Gloria tibi trinitas. A virtuosic work, it has pride of place in the Forrest-Heyther partbooks (in the Bodleian Library in Oxford), which it has been variously argued originated at Cardinal College or at the Chapel Royal.It might well have been heard on Trinity Sunday in the chapel of Cardinal Thomas Wolsey’s palace at Hampton Court.

Philippe Herreweghe and the Antwerp Symphony Orchestra explore the tormented world of Robert Schumann. Symphonies Nos. 2 and 4 plunge us into the psychological tangles of the composer's mind, reflecting his relentless struggle with melancholy and depression. In these two seminal works, a slow and somber introduction unveils the main motifs that will unfold throughout, before culminating in an emphatic and optimistic finale. The director from Ghent (and former psychiatrist) pHilippe Herreweghe manages to grasp the full complexity of this cathartic process leading us from darkness into light. He delivers a lively and urgent interpretation of these romantic masterpieces, confirming his reputation as an unrivalled performer of the German repertoire.

Despite the evident angst within its title, Hurts 2B Human is generally a light affair from P!nk, especially when compared to its predecessor, Beautiful Trauma. On that 2017 album, P!nk seemed ready to settle into her encroaching middle age, favoring polished productions that veered ever so slightly toward the staid. Such politeness is generally eschewed on Hurts 2B Human. P!nk still indulges in empowering pop and soul-searching power ballads, producing glistening AAA pop that easily slides onto adult contemporary radio, but she's also keenly aware of shifting trends, enlisting a number of noteworthy collaborators. What's interesting about her choice of guests is that they're not limited to new stars. Khalid may show up on the title track and Cash Cash on "Can We Pretend," while Wrabel helps P!nk drift toward moody electronica on "90 Days," but she also brings in Beck - who penned her old 2003 hit "Feel Good Time"…

Cross The Line is a modern Italo Disco release by The Crosslines, issued in 2019 and designed as a tribute to the classic European synth-dance sound of the 1980s. The album combines nostalgic analog-style synthesizers with contemporary production techniques, creating a polished yet retro-inspired atmosphere. Driving basslines, shimmering arpeggios, and emotional vocal performances define the record’s sound, evoking the golden era of Italo Disco while maintaining a fresh modern identity. Many tracks are presented in extended or maxi versions, reinforcing its club-oriented character and allowing the melodic structures to develop fully. Songs such as My Secret Love, Hotel Of The Lonely Hearts, and Angel Eyes highlight the project’s strong focus on romantic themes and dancefloor energy. Cross The Line stands as a well-crafted entry in the modern Italo Disco revival scene, appealing to fans of both vintage synth-pop aesthetics and contemporary electronic dance music.

Here is confirmation that Francesco Piemontesi belongs to a small elite: he is a pianist that other pianists go to hear. He is awesome and speculative in the A major while in the B-flat he achieves greatness without recourse to idiosyncrasy or extremes. Even in a crowded field of celebrated recordings, Piemontesi’s performances are wholly exceptional, enlightening if exhausting at every level. They are crowned by Pentatone’s beautifully natural sound.

La Musica Popular de Verdun by Clay and Friends is a compact and energetic release that blends hip hop, funk, and soul into a vibrant and modern urban sound. Released in 2019 as a self-produced project, the album reflects the group’s playful yet musically sophisticated approach, combining groove-driven instrumentation with rhythmic vocal delivery and a strong sense of personality. The production emphasizes live-influenced funk basslines, warm soul textures, and hip hop beats that create a cohesive and accessible listening experience despite the project’s short duration. Each track contributes to a lively atmosphere rooted in Montreal’s multicultural urban scene, with occasional collaborations adding additional flavor and variation. The result is a tight, well-crafted EP that highlights the group’s ability to merge genres seamlessly while maintaining a distinct identity and an upbeat, feel-good energy throughout.

The Deep, Bright Below by Actionesse is a tightly focused punk rock release that captures a raw and emotionally charged sound within a compact runtime. Released in 2019 as a self-published work, the album emphasizes urgency, distortion, and lyrical introspection, balancing aggressive energy with moments of reflective tension. The production is intentionally direct and unpolished, reinforcing the DIY aesthetic commonly associated with modern punk recordings. Across its ten tracks, the album explores themes of personal doubt, psychological strain, and social alienation, often delivered through sharp guitar riffs, driving percussion, and vocal performances that shift between restrained delivery and more forceful expression. Despite its brevity, the record maintains a consistent atmosphere, building a sense of momentum from track to track. The closing piece extends into a more expansive structure, offering a final release of intensity that contrasts with the tighter compositions preceding it. The result is a concise yet impactful statement within contemporary punk rock.