Sebastian Deken

The long stretches between albums that had become standard for indie pop heroes Belle and Sebastian made their 11th studio LP, Late Developers, even more of a surprise, as it was released without much lead-up just eight months after 2022's A Bit of Previous. Recorded during the same self-produced sessions, Late Developers feels like a companion piece to its predecessor, reaching just as inspired heights and continuing the band's inspection of aging and existential dread that always comes wrapped in soft, reassuring melodies. These songs also flit playfully between styles and delivery, turning in more of the band's Motown-fixated sunshine soul on tracks like the swaying "The Evening Star" or "Give a Little Time," which finds them sneaking in another of their long-term musical fascinations with some very subtle Thin Lizzy-style lead guitar harmonies.

A Bit of Previous is the tenth studio album by Belle and Sebastian and their first full-length in seven years. This may be surprising to anyone following the recent life pursuits of the Glasgow 7-piece: a trilogy of EPs; a soundtrack for the directorial debut of The Inbetweeners’ Simon Bird; The Boaty Weekender – a 3000 capacity star-studded four-day music festival on a cruise liner sailing the Mediterranean; a live album showcasing the band’s present-day iteration as savvy main stage entertainers; and in 2020 a collaborative project with fans called ‘Protecting The Hive’. But in all these idiosyncratic endeavours, as intrinsic to the band’s DNA as the stage invasion at the end of each of their shows, a full-length has eluded us.

Originally recorded for the small Music Masters label in the early '90s, this set of Bach's keyboard concertos was among a series of choice Music Masters items reissued by Nimbus late in the first decade of the 21st century. The Russians have never been known for Bach, but this is a solid traversal that can be recommended to anyone wanting to hear these concertos on a piano accompanied by modern instruments. Despite these forces, there is a good deal of influence from the British historical-instrument movement apparent here; the crisp string playing avoids any hint of Romantic sheen, and Feltsman is very subtle in his introduction of purely pianistic elements. The long notes in the slow movements tend to be just a bit more extended than would be possible on a harpsichord, and Feltsman thus creates a smooth, pearly texture that's quite lyrical. In several of the finales he pushes the tempo to high speeds, creating an entirely different effect on a piano that the music would have on a harpsichord.

On his latest album "Brahms, Schumann, Gade", the clarinet virtuoso and three-time ECHO Klassik winner Sebastian Manz dedicates himself to three absolute opera magna of the clarinet repertoire. The focus on the chamber music core repertoire makes this album project stand out clearly from the artist's previous discography. Without distractions or programmatic embellishments, Sebastian Manz completely serves the artistic content of these timeless masterpieces in this album. Sebastian Manz is accompanied on the piano by Herbert Schuch. Together they inspire with recordings in which one can hear that time and space have been left for spontaneous musical qualities. The thoughts and emotions of the performers thus come to the fore unfiltered. In addition, large-scale takes preserve the musical flow and their naturalness.