There The Fin.

The Art of Noise‘s 1987 album In No Sense? Nonsense! is reissued as a two-CD deluxe edition in November 2018. Gary Lagan had left after In Visible Silence leaving Anne Dudley and J.J. Jeczalik to continue as a duo. Dudley recalls, “At that time, we were meeting new people, doing adverts and films and things. There was lots of new input. These adverts generated other new tracks. They would evolve and we’d agree they were good ideas. And we’d ask each other what would happen if we did this, this and this? So that kept everything evolving.” The reissue features newly-remastered audio including bonus seven-inch and 12-inch mixes including collaborations with Paul McCartney (the Art of Noise ‘Spies Like Us’ remix) and Duane Eddy (‘Spies’). Additionally, there are 22 unreleased recordings from the sessions, taken from the original master tapes.

6 CDs featuring all of the Moody Blues' recorded output for Polydor Records between 1986 & 1992. Each disc includes previously unreleased and rare bonus tracks…

A fun disc and nearly – but not quite – a terrific one. The Philharmonics are an instrumental ensemble (not the African American vocal quintet of the 1950s and ’60s) – a string quintet with clarinet and piano. Four members are from the Vienna Philharmonic, one from the Berlin Philharmonic…

Trevor Pinnock and The English Concert take a refined look at Christmas Concertos from the baroque masters. So that's Vivaldi, Handel, Corelli and plenty more.

This album provides the recording of two chamber music works, possibly the most important of the 20th century: The Quartet pour la fin du Temps (Messiaen) and Quatrain II (Takemitsu), both for an unusual instrumental group: clarinet, violin, cello and piano. The Quartet pour la fin du Temps was inspired by the tenth chapter of the Book of Revelation and it is dedicated to the Angel of the Apocalypse who lifts his hand toward Heaven and says: « There shall be time no longer, but at the day of the trumpet of the seventh angel the mystery of God shall be consummated ».

This immeasurable masterpiece has a disconcerting habit of resisting attempts to capture its haunting and evocative atmosphere on disc. There is no really bad recording, but only two or three to which I at any rate return again and again secure in the knowledge that I will be as moved as I often am in the concert-hall. I'm afraid this new recording can't be added to that select band. It is, I hasten to say, a very fine recording indeed, as most of this Frankfurt Mahler cycle have been.