And now, Bon Voyage is once again set to surface, on June 15. The folk-prog odyssey teems with ideas and sounds—flute solo breakdowns, half-whispered singing, multiple languages, and psychedelic guitar freakouts. Before her accident, the French artist decamped to Sweden to work on the album with psychedelic brethren Fredrik Swahn of the Amazing and Dungen’s Reine Fiske. In part, the music is a testament to the trio’s mutual love of deep-cut oddities. (Prochet cites Turkish composer Özdemir Erdoğan, Brazilian singer-songwriter Milton Nascimento, and soulful crate-digger favorite Shuggie Otis as influences.) The resulting record is one that she describes as “a little winter’s tale.”

When it came to writing Passions, C. P. E. Bach was certainly far more prolific than his father, whose St. Matthew Passion is by far and away the model against which all others are currently measured. He wrote 21 of these, or rather, he wrote bits and pieces of each one, the rest of which was cobbled together from works by his contemporaries and even his father.

The calling card here is the use of an Amsterdam edition of Haydn's Op. 33 string quartets that reverses the order of some of the inner movements. It's never made clear why this edition should get priority over the dozens of others that circulated around Europe, with and without Haydn's consent, but so be it; there are some tempo novelties here that shed some light on how Haydn's music was received, at least in some quarters. There the good news ends.

As recommendable an album as anyone could wish, Carlos Kleiber's performances with the Vienna Philharmonic of Ludwig van Beethoven's Symphony No. 5 in C minor, Op. 67, and the Symphony No. 7 in A major, Op. 92, are classics that should always be within reach, and this disc should be passed along to friends as the single best pairing of these two pieces. Other performances of these symphonies are absolutely essential to know, and recordings by many great conductors and orchestras certainly compete with this Deutsche Grammophon album for listeners' affections.

Terry is one of those guitarists who have made the solo his life goal, just like Randy Holden, Jimi Hendrix, Wilburn Burnchette, but not out of narcissism or anything like it just because the instinct of guitar genius allows them, when the muse strikes to improvise and create incredibly personal and unrepeatable weaving of sounds.
Cosmic, smokin', powerful, riff-based power-chord hardrock w/explosive overdriven distorted heavy guitar to the forefront & gutsy, heartfelt, sincere vox by Florida (by way of Ohio!) guitarist-singer-songwriter…

Lemongrass, Faro, Moshang, Weathertunes, Five Season, Tafubar and more.

This unique, baroque take on The Beatles contains arrangements of the songs in the styles of Handel, Vivaldi, Bach, and Corelli. Breiner very successfully finds baroque elements in pop/rock music. (E.g., taking the main theme of "Michelle", Peter Breiner's orchestra creates a perfect FOUR-PART COUNTERPOINT!)…

Thankfully, Pantera has stopped attempting to outdo each successive album in terms of start-to-finish intensity, but that doesn't mean they don't try in spots. The Great Southern Trendkill is burdened with passages in which Phil Anselmo's vocals cross the line into histrionics, making the band's trademark intensity sound dull, forced, and theatrical rather than sincere. The lyrics, which reached their apex with Vulgar Display of Power's focus on personal politics and integrity, have degenerated into half-baked rants against drugs and pop-culture media…