Vers le Socialisme Écologique. Chroniques 2020 2024 Towards Ecological Socialism: Chroni

Formed in 1993, Electric Wizard's brand of doom metal incorporates stoner and sludge traits, with lyrics focusing on the occult, witchcraft, H.P. Lovecraft, horror films, and cannabis. Black Magic Rituals & Perversions Vol.1, a one-take dungeon session, features some of their most classic moments, captured live, raw and uncensored. This is a career-defining collection, and a must-have for followers of this iconic British metal band.

A Very Trainor Christmas is a Christmas album and the fourth major-label studio album by American singer-songwriter Meghan Trainor. Honest OG Recording and Epic Records released it on October 30, 2020. Trainor involved her family members in the creation, co-writing its songs with her brothers, Ryan and Justin, among others. Featured artists include Earth, Wind & Fire, Seth MacFarlane, Trainor's cousins Jayden, Jenna, & Marcus Toney, and her father, Gary. The album includes cover versions of Christmas standards, such as "It's Beginning to Look a Lot Like Christmas" (1951) and "Last Christmas" (1984), as well as six original recordings.

The Sainte-Colombe family remains a source of mystery to this day: the first name and the origins of the father, who taught Marin Marais and composed numerous pieces for one or two viols, remains hidden in the mists of time. The same obscurity surrounds his son or sons: records show a few traces of him in London and Edinburgh around 1700, although all that is really known of him comes from the Pieces de viole recorded here; these five suites of dances in the French style, including a Tombeau pour Mr de Sainte-Colombe le pere, have survived in a non-autograph manuscript. The version presented here breaks with the usual interpretations of these Pieces de Viole, as it includes a reconstruction of a basso continuo part as was common in works by composers of the son's generation. The non-autograph source that has survived gives a general feeling that something is missing in the harmonic structure, a lack that is here filled by this new basso continuo part. Reconstructed in the musical language and style of the time, the music of Sainte-Colombe's son here seems to come back to life; these pieces have not only recovered their full meaning but also reveal a sublime music.

Last Desert represents guitarist Liberty Ellman's first leader date since 2015.

With 2020's Sunset in the Blue singer Melody Gardot sinks into a dusky and languorously produced album that builds upon her love of jazz standards, Brazilian music, and intimate balladry. The record finds Gardot surrounded by a production dream team, including longtime associate Larry Klein, who helmed 2009's My One and Only Thrill and 2015's Currency of Man, as well as equally acclaimed studio pros, arranger Vince Mendoza and engineer Al Schmitt. Together, they have crafted a showcase for Gardot's delicately nuanced vocal style. The album is an interesting dichotomy, at once intimate as if Gardot is singing to you in a small club, yet also widescreen, framing her hushed vocals in sweeping orchestrations that reinforce the romantic drama at play in the songs. The opening original "If You Love Me Let Me Know," sounds like something Dinah Washington or Abbey Lincoln might sing, but filtered through the half-lidded scrim of Gardot's bedroom intimacy. Equally evocative moments follow, as on the yearning "You Won't Forget Me," in which Gardot balances a wry cabaret theatricality à la Marlene Dietrich with a tangible sadness that never feels anything but real. Elsewhere, she gently wades into a handful of earthy bossa nova songs, including a gorgeously attenuated reading of the Ella Fitzgerald number "C'est Magnifique" featuring Brazilian singer António Zambujo and a crackling take of Marco Paulo's "Ninguem, Ninguem" that she sings in Portuguese. We also get a movie theme-ready version of "From Paris with Love," as well as memorable takes on classics like "Moon River" and "I Fall in Love Too Easily." From beginning to end, Gardot's Sunset in the Blue holds you in its deeply rapturous glow.

With 2020's Sunset in the Blue singer Melody Gardot sinks into a dusky and languorously produced album that builds upon her love of jazz standards, Brazilian music, and intimate balladry. The record finds Gardot surrounded by a production dream team, including longtime associate Larry Klein, who helmed 2009's My One and Only Thrill and 2015's Currency of Man, as well as equally acclaimed studio pros, arranger Vince Mendoza and engineer Al Schmitt. Together, they have crafted a showcase for Gardot's delicately nuanced vocal style. The album is an interesting dichotomy, at once intimate as if Gardot is singing to you in a small club, yet also widescreen, framing her hushed vocals in sweeping orchestrations that reinforce the romantic drama at play in the songs. The opening original "If You Love Me Let Me Know," sounds like something Dinah Washington or Abbey Lincoln might sing, but filtered through the half-lidded scrim of Gardot's bedroom intimacy. Equally evocative moments follow, as on the yearning "You Won't Forget Me," in which Gardot balances a wry cabaret theatricality à la Marlene Dietrich with a tangible sadness that never feels anything but real. Elsewhere, she gently wades into a handful of earthy bossa nova songs, including a gorgeously attenuated reading of the Ella Fitzgerald number "C'est Magnifique" featuring Brazilian singer António Zambujo and a crackling take of Marco Paulo's "Ninguem, Ninguem" that she sings in Portuguese. We also get a movie theme-ready version of "From Paris with Love," as well as memorable takes on classics like "Moon River" and "I Fall in Love Too Easily." From beginning to end, Gardot's Sunset in the Blue holds you in its deeply rapturous glow.