God Save the King is actually a split release and/or a Robert Fripp compilation, depending on how you look at it. In 1980, Robert Fripp released something of a split disc himself, called God Save the Queen/Under Heavy Manners, consisting of a side of Frippertronics and a side of Discotronics, the latter being Frippertronics with a "dance-oriented" (according to Fripp) rhythm section. Also in 1980, Fripp formed a new group, borrowing the name from his early-'60s band, the League of Gentlemen.
Eternal Rituals represents a heavier side of Junius, who constantly surprise album to album, and song to song with their unique touches and flourishes. While their EPs are mostly forgettable, their previous 2 full-length albums had a core sound to them that Junius extends to this new album and yet manages to carve out a unique identity for it with enough musical adventure to keep you engaged throughout its short 45 minute duration. Songs like The Queen's Constellation and A Mass for Metaphysicans are true delights to return to over and over. Where do they come up with these song and long album titles? Overall this is their career best album since their stunning debut 8 years ago, a moving and tragic paean to the theorist Immaneul Velikosky. Fans of dark rock, indie music and 90's gothic metal are sure to find this a real treat.
Really The Orb should need no introduction by now, but in essence they’re a rotating cast of members helmed by Paterson that began in 1988 and still thrives to this day. They were there since UK acid house day one, providing a unique ambient take on the musical milieu and soon rising to chart-topping, huge-venue-headlining prominence. They’ve released 19 albums plus EPs, singles, compilations and live recordings, influencing countless other musicians along the way. The Orb (Alex Paterson and Michael Rendall) release their new album on March 27th. The album features Youth (Killing Joke), Steve Hillage (Gong, System 7), Roger Eno (co-creator of the Apollo album with Brian Eno & Daniel Lanois) & Jah Wobble (PiL, Primal Scream Orb, Invaders of the Heart).
It took 53 years, but now, at last, The Beatles’ final public performance can be heard – with all the songs complete and uninterrupted. True, a split-screen sequence of the remarkable event on January 30, 1969, was the climax of Peter Jackson’s epic Get Back trilogy. But the film’s fascinating cutaways to the drama unfolding at ground level meant the music on the roof was not always in the foreground. Finally, a new mix by Giles Martin and Sam Okell presents virtually every second from the two reels of tape containing the rooftop session. Listening to this historic audio is a thrilling experience. Although no one knew at the time, this was The Beatles’ last gig. But it’s a perfect live finale – original, humorous and unprecedented: elements that are forever associated with The Beatles.
The latest Karl Jenkins release on EMI Classics features world premiere recordings of four recent concertos. Over The Stone, a double harp concerto; La Folia for marimba; Quirk, a concertante for flutes, keyboards, percussion and Sarikiz, a violin concerto. The album is rounded off with the re-recording of the first movement of Palladio, a concerto grosso that Jenkins composed in 1996.
The deluxe edition of THE SOUND OF THE SMITHS appends the standard version with a bonus disc of rarities, deeper album cuts, and live tracks, providing an even more in-depth overview of the beloved 1980s British rock act. Highlights of the second disc include an energetic concert performance of "Handsome Devil," an alternate version of "Pretty Girls Make Graves," and "The Queen Is Dead," a searing song lifted from the esteemed album of the same name.