Peter Gabrniel

Security (IV) – which was titled Peter Gabriel everywhere outside of the U.S. – continues where the third Gabriel album left off, sharing some of the same dense production and sense of cohesion, yet lightening the atmosphere and expanding the sonic palette somewhat. The gloom that permeates the third album has been alleviated and while this is still decidedly somber and serious music, it has a brighter feel, partially derived from Gabriel's dabbling in African and Latin rhythms. These are generally used as tonal coloring, enhancing the synthesizers that form the basic musical bed of the record, since much of this is mood music (for want of a better word).

OVO is the soundtrack to the Millennium Dome Show in London that was composed by the English rock musician Peter Gabriel. It was his eleventh album overall. It was released on 12 June 2000 and features guest vocals by Neneh Cherry, Rasco, Richie Havens, Elizabeth Fraser, and Paul Buchanan (of The Blue Nile). Two versions of the album were released, a standard version which was sold in stores and a limited edition deluxe version, which was sold only at the Millennium Dome and petergabriel.com. The deluxe version which was discontinued after 2000, includes a comic book telling the OVO story and a bonus disc with the track, "The Story of OVO".

Splinter Group/Destiny Road is a remarkably good value for anyone interested in the comeback of Peter Green. Combining the self-titled debut of the Splinter Group along with Destiny Road, this two-fer offers a good snapshot of the man's return. He's not the guitar god he once was, which is only to be expected, really. And the band never sounds as inspired as old Fleetwood Mac. But Splinter Group is very serviceable, with both "Homework" and "The Stumble" comparing favorably against the originals – although it's not always easy to tell which guitar is Green and which is cohort Nigel Watson. Destiny Road, from 1999, showcases a more cohesive unit, and a more relaxed Green. His guitar work still doesn't have the sharpness, nor the unexpected turns of yore, but it's still very pleasant, especially "Madison Blues" and "Hiding in Shadows." In many ways the mere fact that Green was back recording is reward enough. And this time he doesn't sound as tortured by the blues as he was in his heyday.

Peter Hammill has been at it for almost 40 years now, and yet, since the early 2000s, he has been on a new way up, creatively speaking. Clutch (2002) and Incoherence (2004), his previous two studio albums, had both hit high artistic marks, but that is only one of the main reasons why Singularity was so highly anticipated by the fans. It was also the Thin Man's first studio album since remastering his '70s LPs for EMI, his first since the re-formation of his old group, Van der Graaf Generator. Yet, most importantly, especially for a man of words like he is, it was his first studio release since his heart attack two years earlier. Were all the expectations generated by these "firsts" met? Surprisingly, yes. Singularity stands among Hammill's best albums of the past 25 years.

Peter Gabriel's first foray into soundtracks was for Alan Parker's contemplative film Birdy and is a successful companion piece, providing a backdrop that is moody and evocative. Nearly half of the album's dozen tracks incorporate threads from material found on Gabriel's 1982 Security set, including "Close Up," which makes use of keyboard passages from "Family Snapshot," and "The Heat," which is a reworking of "The Rhythm of the Heat" and builds to a frenzied percussive crescendo. Material specially written for this project includes the murky opening track, "At Night," the tribal "Floating Dogs," and "Slow Marimbas," a track that would become part of future live performances. The fact that Birdy comprises all instrumentals means that listeners whose familiarity with Gabriel is limited to "Sledgehammer" and "In Your Eyes" will be largely disappointed. However, its meditative nature makes it fine, reflective listening for the more adventurous.

Peter Doherty has unveiled his new band The Puta Madres and announced details of their debut album, which is set for release later this year. The latest record from the Libertines frontman is described as “a devastatingly intimate portrait of love, loss and being lost” and was recorded in a French fishing village across four consecutive days last summer.

During his lifetime, Hugo Alfvén became known as one of Sweden’s principal composers of his time, with works that struck a chord with a wide audience. As a result of his popularity, a nationwide collection was held in celebration of his 70th birthday in 1942, with the proceeds used to build Alfvéngården, the composer’s home during his final years. Now, 80 years later, Elin Rombo and Peter Friis Johansson are releasing their tribute to Alfvén’s 150th anniversary, recorded at Alfvéngården using the composer’s own piano.

SOMM Recordings is delighted to announce the release of Eclogue. British Chamber Music, a collection of British chamber music from the 19th to the 21st centuries including nine first recordings featuring the label debut of the Chamber Ensemble of London in their 25th anniversary year with director Peter Fisher.