This Bu Dunya

The third and final album by This Mortal Coil, 1991's Blood is neither as unfocused as Filigree & Shadow or as conceptually pure as It'll End in Tears, but it's a solidly enjoyable set. Once again, nearly half the tracks are instrumentals (or tracks with minimal and often wordless female vocals) written by Ivo Watts-Russell and John Fryer, but this batch of tunes holds together much better than the much more amorphous originals on Filigree & Shadow; lengthy atmospheric explorations like "Dreams Are Like Water" sound composed and thoughtful rather than merely pretty…

Hailed from UK, a rock quintet This Winter Machine - Al Wynter (vocals), Gary Jevon (guitars), Marcus Murray (drums), Mark Numan (keyboards), and Peter Priestly (bass) - have got started with remarkable influences from the pioneers of 70s Symphonic Progressive or 80s Neo-Progressive scene, especially from Marillion, IQ, Pendragon, Porcupine Tree, Opeth, Rush and Genesis. Their first cry was heard in the beginning of 2017, as the debut album titled "The Man Who Never Was". They bring the sound right up to date combining soaring and emotive vocals, thought provoking lyrics, consummate and evocative musicianship and melodies that linger long after the music stops.

On April 2, RCA Victor/Japan will issue the debut from Out Of This World, a new outfit featuring legendary Europe guitarist Kee Marcello and Fair Warning singer Tommy Heart. Four tracks feature Deep Purple keyboardist Don Airey. OUT OF THIS WORLD's first studio album has been mixed by Ron Nevison (Kiss, Bad Company, Ozzy Osbourne, Lynyrd Skynyrd,Vince Neil, Meat Loaf, Heart, Chicago and many more). A true genius in his field who has collaborated with Kee again after unbelievable 33 years. First time since Europe’s „Out Of This World“-album.

For her debut album, Swiss soprano Stephanie Bühlmann went in search of clues: based on personal encounters with works by her compatriots, she discovered musical treasures off the beaten track of the standard vocal repertoire. This is how the idea of an album of unknown songs by Swiss composers was born, most of which were recorded for the first time for the album 'Zauberluft'. Magic, air, love, nature, soul, peace and home are the themes of the songs, set to music in enchanting, airy, touching, stirring and comforting melodies in the late romantic tradition. The life dates of the five composers Richard Flury, Urs Joseph Flury, Paul Miche, Peter Mieg and Daniel Behle, who set texts in German and French, go from 1896 to the present day. Stephanie Bühlmann studied at the conservatories of Zurich and Lucerne. She deepened her studies in 'Lied singing' in the Liedduo class with Hartmut Höll and in collaboration with Daniel Behle. As a sought-after soloist, she can be heard regularly in opera and concert. Together with her lied partner Benjamin Engeli she presents with 'Zauberluft' a series of fascinating first recordings.

This is an intriguing set, featuring the combination of drummer Andrew Cyrille, flutist James Newton and bassist Lisle Atkinson, a different kind of power trio. The music ranges from fairly free flights to "Inch Worm" (arranged by Sheila Jordan) and two versions of "A Tribute to Bu" (for Art Blakey). Due to the variety of the material (mostly originals) and the consistent brilliance of Newton, this CD is recommended to fans of advanced jazz.

During 1953-1955, singer Chris Connor recorded regularly for Bethlehem. This reissue LP has her final recordings for the label (before moving up to Atlantic) with such fine sidemen as Herbie Mann (doubling on flute and tenor), pianist Ralph Sharon, guitarist Joe Puma, bassist Milt Hinton, and drummer Osie Johnson. The two-trombone team of J.J. Johnson and Kai Winding (which had recently become very popular) is prominent on four of the ten selections. Connor's cool tone, subtle, emotional delivery and haunting voice were perfect for the music of the 1950s. Highlights of this superior set include "The Thrill Is Gone," "Blame It on My Youth," and "I Concentrate on You," but all ten numbers are rewarding.

Sequential variations on anguishing themes, This Is Not The End is a daring opus where EM crosses the ambiguous meanders of a progressive contemporary music on crystalline sequences girdled of synth to flavors as apocalyptic as its chorus. This Is Not The End is a catalyst opus which will undoubtedly animate your evenings of interrogation and anguish. This 6th opus of Remy is a daring one full of musical bounces to sequential similarities which astonish and charm, so much by their unpredictability than their lyric, even poetic, denouement. The kind of opus that is creates too rarely in this aseptic universe of broken down redundancies of inspiration. Great obsessional music.