Better Yet

'The Best Is Yet to Come' - Bonnie Tyler's new album title says it all: there is no stopping the '80s icon, Bonnie is better than ever! And if anyone thought catchy pop music could only be made by people in their twenties - oh, they were wrong. Bonnie Tyler delivers 12 brand new studio recordings, filled with the pure joy of '80s pop. From dance anthems to love songs to 'Stronger Than a Man' (a true call for female empowerment) - Bonnie Tyler lives and breathes one of the most fun eras in pop music. Bonnie always was and always will be THE '80s icon, and now she is taking this beloved music to the 21st century.

A few years ago, a very interesting relationship began to develop. A bridge was built out of Jaubi's releases on Astigmatic Records and the increasingly frequent collaborations between musicians from Europe and Asia - out of Latarnik's trip to Pakistan resulting in the widely acclaimed album Nafs at Peace and Zohaib, Dhani and Ali's revisit to Poland, which has been recorded as the EABS meets Jaubi In Search of a Better Tomorrow longplay.

All Music Guide
A holy grail among contemporary music collectors, this release on Brian Eno's Obscure label, which went out of print almost immediately, features two of the finest compositions of the late 20th century, both by Gavin Bryars. The title track, Sinking of the Titanic, had since been recorded again on two occasions, arguably to better effect on Les Disques du Crepuscule in 1990 and once, more pallidly, on Point in 1994, but this initial production was an extremely special event. Bryars' idea was to construct an aural picture of the disaster, complete with songs and hymns supposedly played by the ship's orchestra even as she was sinking. He combined this with the acoustical phenomenon of the enhanced ability of sounds to travel great lengths underwater and produced an eerie and romantic sub-aqueous soundscape of remarkable subtlety and beauty. As though one masterpiece wasn't enough, however, the second composition on the album might be even greater. Surely one of the most beautiful "concept" works ever created, Jesus' Blood Never Failed Me Yet begins with the faint, faded-in voice of a London tramp singing the old hymn plaintively but without pathos and more or less in tune. The lush, sensuous music, entirely sympathetic to the song, gives it increased strength and humanity as it swells to near-majestic proportions and then, just as gradually, subsides. The emotional impact of this 25-minute piece, in its honest and charitable stance toward the singer, cannot be understated.

This album, originally released on Verve Forecast in 2009, is a collection of new songs related to summer and it's influence on Kurt Maloo's songwriting. A fresh combination of jazzy melodies and light grooves, that carry his distinctive, soothing voice. Kurt Maloo is a former painter who made his first musical appearances in the mid 70s with “Troppo”; a nine-piece experimental art-punk band, of which he was a founding member. After his first solo single “Giant Lady” and the innovative EP “Luna, Luna & The Notorious Maloo Home Works“ he joined forces with Felix Haug (later 50% of Double), and formed with the addition of a bass player a trio called “PingPong”. During the 1981-1982 period they played at several European festivals and released their sole album “From Exile.”

If we focus primarily on the non-bastardized jazz elements, like keyboards, rhythm section, or especially the guitar, then the album is Amorphis' crown jewel for creative composition. The album kicks off with the gentle keys and happy harmonics we've come to expect from the band with "Alone." The song meanders through thick interchanges of sound and tasty vocal lines before hitting a wall of warm, overdone pop sax…