Combining heavy symphonic sounds, a certain taste for big melodic hooks, and the seducing raspy vocals of mistress Steva, Deathless Legacy carved out their own peculiar niche - no one sounds like them, no one is currently doing the horror metal thing better than them! “Damnatio Aeterna” tells the thrilling story of the lesser demon Malchrum, who is challenged by Lucifer to ensnare a priest in an unspeakable sin, thereby ensuring his eternal damnation. A dark and provocative journey faithful to the band's signature style and filled with an atmosphere of mystery that grows progressively tense as the story unfolds, the seventh Deathless Legacy studio album will finally delve into sophisticated themes and explore the true nature of evil.

One of those composers whose name you might not be instantly familiar with, but whose music you certainly will be, Italian pianist Ludovico Einaudi has been captivating audiences for the best part of two decades with his beautifully delicate and minimal arrangements, many of which have gone on to become soundtrack staples for everything from costume dramas to TV adverts to Hollywood films. Celebrating his increasingly popular output, Islands: Essential Einaudi compiles the Milan Conservatory graduate's most recognizable pieces, with material from his first solo piano record, Le Onde ("Questa Notte"), right up to 2009's synth-based Nightbook (the gothic cello-led title track), alongside a brand new composition, "The Earth Prelude."

Two names virtually synonymous with the violin in the twentieth century are Fritz Kreisler and Oscar Shumsky. The former was a notable performer in his own right, appearing as soloist in front of most of the world's most prominent orchestras. Today, however, Kreisler primarily lives on through his extensive compositional output, particularly that for the violin. This vast body of work can generally be categorized as being nationalistic, imitative of eighteenth century composers, or arrangements.

Most listeners to 18th century music in the modern era are well familiar with JS Bach, perhaps his sons Karl Philipp Emanuel, Wilhem Friedemann, and Johann Christian, certainly Handel, Vivaldi, and Scarlatti, and perhaps Purcell. In the last 30 years we are fortunate to have been given access through CD recordings to similar music from the enormous host of contemporaries of these masters of the Baroque, and it is constantly astonishing how high the quality of the written music was throughout the 18th century. Surely there were mediocre or perhaps poor composers, but the sheer number of really good ones continues to amaze.

In 1970, Elektra Records released a Doors hits collection called 13. In 1971, the Doors scored two more hits, "Love Her Madly" and "Riders on the Storm," and their lead singer, Jim Morrison, passed away. In 1972, Elektra released a two-LP anthology containing "Love Her Madly" and "Riders on the Storm," along with a lot of album tracks. But there was no single-LP compilation that contained all the Doors' hits, from "Light My Fire" to "Riders on the Storm." This 11-track 1973 album was an attempt to address that problem, and at the time of its release, containing seven of the Doors' eight Top 40 hits (the exception being "The Unknown Soldier"), it was the best Doors greatest-hits collection on the market.

2008 release, the seventh studio album from the Voice AKA Russell Watson. People Get Ready sees the operatic tenor taking a new direction. Backed by Amy Winehouse's band, Watson delivers an album of Easy Listening, Soul and Rock standards and, for the first time, does away with the classical crossover songs that made him a household name throughout the UK. 14 tracks including 'Me & Mrs. Jones', 'Georgia' and 'Papa Was a Rolling Stone'.

"The idea of recording this album was born during the tour of Nightbook, which in its breadth has seen eighty dates between Europe and America, all of which are followed by the audience - told the Einaudi Feltrinelli di Milano - Every concert was different from ' other, because playing live, in situations so exciting, there are growing and new arrangements of songs interesting variations. Throughout the tour I have done nothing but dream about the stage at the Royal Albert Hall, it is a legendary place for every musician. And so finally I decided to record their live concert that, in a double album. "

This isn't French violinist Renaud Capuçon's first outing as a concert soloist; he has released a recording of concertos by Mendelssohn and Schumann, and a disc of concerted works by French composers. This is his first recording of concertos by Mozart, though, and it is as successful as his previous releases. Capuçon's lean tone, lyrical approach, subtle vibrato, and supple phrasing are ideal for Mozart's First and Third concertos, and his ardent but elegant interpretations are virtually perfect. As in his other recordings, Capuçon's playing is both completely in the style of the works and still wholly individualistic, particularly in the cadenzas, which have a sense of improvisatory freedom that entirely suits them.

Denkt man an die Musik des Barock, fallen einem als erstes Namen wie Monteverdi, Vivaldi und Bach ein. Eine Musik, pompös und lebenslustig. Schaut man hingegen auf die Englische Musik dieser Zeit, findet man einen sehr beschaulichen, fast miditativen Stiel vor. Dies verdichtet sich vor allem in der Harfenmusik am englischen Hof. Lawrence-King interpretiert diese Musik mit der nötigen Andacht und vergisst dabei weder die melancholischen Farben der keltischen Ursprünge, noch die Festliche Stimmung eines barocken Hofes.

The second half of an epic recording session Mississippi John Hurt cut for the Library of Congress on July 15th-23rd, 1963 (the first half is available on D.C. BLUES–THE LIBRARY OF CONGRESS RECORDINGS VOL. 1), VOL. 2 reveals all the delights of this legendary bluesman. Though his most essential recordings were waxed in the late '20s for OKeh, Hurt's complex, fleet fingerpicking style and gentle, conversational singing were little diminished when the artist was "rediscovered" during the folk and blues revival of the '60s. Over two discs and 37 tracks, Hurt delivers versions of some of his best-known songs ("Nobody's Dirty Business," Stackolee"), spirituals ("Will the Circle Be Unbroken"), and popular songs ("You Are My Sunshine"). Hurt's soothing, pleasant style of rural blues wears particularly well here; VOL. 2 makes an excellent companion to the first Library of Congress set, and would make a fine addition to any blues collection.

Mississippi John Hurt was easily the most accessible of all the 1920s bluesmen rediscovered still alive and in playing condition in the early 1960s. His easy, gentle singing voice and deft guitar picking abilities were still intact and undiminished, and where some of his hard-living contemporaries suffered from alcoholism, Alzheimer's, or just plain crankiness when they emerged into the bright lights of the folk- and- blues- revivals, Hurt projected a calm, unaffected professionalism. The recordings on this two-disc set were made for the Library of Congress Archive of American Folk Song during two sessions on July 15 and 23, 1963.