Dar He: The Lynching of Emmett Till

The Flight Of Sleipnir is an American band formed in the winter of 2007 by David Csicsely (Acheronian Dirge, Nexhymn, ex-Throcult) and Clayton Cushman (Acheronian Dirge, ex-Throcult). The project stemmed from a desire to explore ethereal and progressive sounds with lyrics that explore the rich literature of ancient Scandinavia.
Don't let that Electric Wizard or The Sword-like cover art and font lettering on the album cover fool you, this album is not true stoner/doom metal. There's a guitar solo in the first song (and in a couple other places too) that is pretty doom metal-ish but that's about it as Lore by The Flight of Sleipnir is more a down tempo-ed progressive folk rock/metal album that draws strong influence from High on Fire, Ulver, Moonsorrow and latter Enslaved… with a catch. That's a pretty interesting draw and it works…

"Ascension" is a compilation of the band's extremely limited and impossible to get self-released EPs "Wisdom Calls For Sacrifice" & "Winter Solstice II" along with two exclusive bonus tracks (Pentagram's "Be Forewarned" and a rare live version of "Algiz").
The Flight of Sleipnir was formed in the winter of 2007 by David Csicsely and Clayton Cushman. The project stemmed from a desire to explore ethereal and progressive sounds with lyrics that explore the rich literature of ancient Scandinavia. Keeping elements of their other projects and building a foundation upon doom and vintage metal, they released the demo "Wisdom Calls For Sacrifice" in 2008…

Led by Christopher Hogwood, the Academy of Ancient Music has made many renowned recordings of Handel's music-particularly the oratorios. The beloved Messiah heads up this 8-CD set, followed by Esther; La Resurezzione , and, making its return to the international catalog after an absence of several years, the 1985 recording of Athalia -with none other than Joan Sutherland in the title role! Recorded in London, 1979-85.

John Jenkins: yet another seventeenth century English composer who deserves to be more widely known. This delightful CD from The Consort of Musicke directed by Trevor Jones is no dutiful study of a hidden but rather uninspiring corner of English early Baroque consort music; rather, a mosaic – rich in color and shape, carefully crafted and full of surprises. Listen, for instance, to the unpretentious, jaunty and appropriately figurative progress through the Saraband (52, tr.6) and the restrained melancholy of the Fancy-Air (4, tr.7). Jenkins' counterpoint is well-wrought, his instrumental palette fresh and crisp and his melodies catchy without being fey or superficial in any way. He is in excellent hands with the Consort of Musicke… eight string players of the caliber of Monica Huggett and Alison Crum violins; Alan Wilson organ and Anthony Rooley theorbo. If fresh, beautiful, expertly-played English consort music appeals to you, don't hesitate to get this gem of a CD – actually a reissue of a Decca disc from 1983: it's unreservedly recommended.

Absolutely admirable. I never tire of going back to this gem of a recording and can't think of a better introduction to the music of William Boyce.

Recorded in 1995, this Esther was first issued as Collins Classics 7040-2 early the following year. Like Hogwood, Harry Christophers recorded the original 1718 version of what has gone down in history as Handel’s first English oratorio.
In point of fact, the complex and still largely unresolved history of Esther suggests that it was not originally composed as an oratorio at all, but rather as a staged work that would have formed a companion to the near-contemporary Acis and Galatea.

The Sons of Champlin released three albums on Capitol Records between 1969 and 1971 (Loosen Up Naturally, The Sons, and Follow Your Heart), none of which was a commercial hit for various reasons, but not for lack of musical quality. This 78-minute CD makes a reasonable selection of the highlights from those LPs, demonstrating that at their best, the Sons were a collection of talented musicians who packed their songs full of good solos that grew out of complicated arrangements. Although they were a part of the psychedelic San Francisco scene of the time, their music never quite fit the mold, leaning much more toward jazz and R&B than, say, the Grateful Dead. the Sons played instruments including saxophones and a vibraphone, not otherwise typical of the San Francisco Sound, and they were less interested in songs than in creating platforms for soloing. They might start a tune like "Love of a Woman" as a gentle, romantic ballad with an acoustic guitar, but midway through that would suddenly give way to a jazzy instrumental section in a different time signature, return to the ballad, then again go off into jazz.

Praetorius devoted most of his life to church music: he published more than twenty collections, mostly of settings of Lutheran chorales, and a number of others are known to have existed in manuscript. He also planned a series of collections of secular music named after the various Greek muses, including Euterpe (Italian and English dances), Thalia (toccatas and canzonas) and Erato (German secular songs). Unfortunately, in the event he managed to publish only one, Terpsichore, musarum aoniarum quinta (1612), consisting of 312 dances in four, five and six parts.