Innamoramento is the fifth studio album by Mylène Farmer, released on April 7, 1999. Very poetic, all texts were written by Mylène Farmer who also composed the music for five songs. The album deals with the singer's anxieties, such as pain, unhappy love, sexuality and the passage of the time. But as the album's title suggests, love is the central theme of the latter. The album is slower and with less rock sonorities than Anamorphosée. The sound is more techno-pop and intimate. In 2000, Innamoramento won a NRJ Music Awards in the category 'Francophone album of the year'.

With shared love for the tradition of Renaissance and Folk-Rock music, legendary guitarist Ritchie Blackmore and award-winning lyricist and singer Candice Night founded Blackmore’s Night in 1997. They have been enchanting audiences around the world ever since. After hitting off the celebrations for their 25th anniversary with a fully remixed edition of their debut album “Shadow Of The Moon” in 2023, this year Candice and Ritchie continue with the worldwide release of a very special edition of their acclaimed 3rd studio album “Fires At Midnight”. Originally released in July 2001.

The importance of Venice in the history of music needs no introduction. We know the reputation the doge's Chapel had acquired through the concerts and celebrations in the St Mark's basilica, and also the exceptions quality of the concerts that were given in the four charitable institutions of the city, known as 'ospedali', where young orphaned girls were given a musical education at state expense. Music lovers, whether from Venice or simply visitors, would eagerly make for the most reputed of these hospices, the Ospedale della Pietà, on Sunday mornings, after mass, and in lete afternoon, for vespers; religious and instrumental music were skilfully associated.

Bridget Cunningham marks St Patrick’s Day with a new harpsichord CD that gives a glimpse into Handel’s fascinating time in Dublin. In 1741 at the age of 56, following a financially difficult time in London and with fashions turning against Italian opera, Handel went to Dublin for 9 months – a thriving musical city and the 2nd largest in the British Isles after London. The story of this fascinating trip is told in both music and detailed accompanying notes by harpsichordist and musicologist Bridget Cunningham. This disc is part of Cunningham’s ongoing series with the ensemble London Early Opera, which has already seen releases of several volumes of Handel’s music, including Handel in Italy and Handel at Vauxhall.

Arcana's O tu chara Sciença, featuring Italian period instrument and vocal ensemble La Reverdie, is quite simply one of the best-ever recordings of music from the thirteenth and fourteenth centuries. Firstly, the very premise of the program transmits a complete understanding of the theoretical function of music in the late middle ages; music, at least among the learned, was neither an empty entertainment offered in the court or public square, nor was it purely understood as something to hang a sacred service upon to help it turn corners more smoothly. Music was a science on a level with mathematics, astronomy, and geometry.

Talk about a sidelong entrance into a pop career: when the pressures of trying to make it as a star in her own right became too much after the release of 2010's We Are Born, Sia Furler became a songwriter for some of pop's biggest names – but the hits she helped create, like David Guetta's "Titanium" and Flo Rida's "Wild Ones," ended up making her famous anyway. Even if it wasn't her plan, her time behind the scenes helped make the pop landscape into a place more hospitable to her charms. On 1000 Forms of Fear, it's clear that her time as a hitmaker for others not only brought her quirks into the mainstream, but also made the songs she kept for herself catchier. To be fair, We Are Born began this transformation; its unexpected but winning mix of new wave, synth pop, and R&B brought newfound polish to her highly personal style.

Gallagher's second album for Chrysalis – and last with his longstanding trio of Lou Martin (keyboards), Rod De'Ath (drums) and Gerry McAvoy (bass) – was a milestone in his career. Although Calling Card was produced by Deep Purple bassist Roger Glover and not surprisingly contained some of his most powerfully driving rockers, tracks like the acoustic "Barley & Grape Rag" and the jazzy, soulful, finger snapping title cut – a perennial concert favorite – found the Irish rocker not only exploring other musical paths, but also caught him on one of his most consistent songwriting streaks ever. Even "Do You Read Me," the muscular opening track, is a remarkably stripped-down affair that adds subtle synths to the rugged blues rock that was Gallagher's claim to fame. While "Moonchild," "Country Mile," and "Secret Agent" displayed catchy hooks, engaging riffs, and raging guitar work (the latter adds a touch of Deep Purple's Jon Lord-styled organ to the proceedings), it's the elegant ballad "I'll Admit You're Gone" that shifts the guitarist into calmer waters and proves his melodic talent was just as cutting on quieter tunes.