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From the moment the jagged riffing of "Prayer" begins to pour out of the speakers, one thing is quite clear: Disturbed has learned to cut the fat. Their first record was a massively heavy affair, but at times the music was mired in somewhat needless passages. But on Believe, Disturbed takes the sort of jump that their heroes in Soundgarden and Pantera made after their respective breakthrough records. No longer depending on the choppy tempos and percussion-based riffing of the past, guitarist Dan Donegan has made great strides in expanding their sound to include more varied guitar work all around. Take the title track, which moves from a brutal chug to a sweeping chorus that suddenly stops in its tracks and turns into a winding riff that recalls the work of vintage James Hetfield. It's great stuff, the kind of audible theatrics that makes good heavy metal so visceral and potent.

Brown belonged to a group of composers that today is referred to as the "The New York School" (the group active in New York in the 1950s that included Brown, John Cage, Morton Feldman, and Christian Wolff.) The works recorded on this disc represent several of Brown's compositional styles. At least one piece was selected from every decade of his career, from the 1950s to the 1990s. The ensemble size varies from one player to fourteen. Performers include Christian Wolff and vocalist Joan La Barbara, both of whom knew and worked with Brown for many years.

Perotin and the film by Uli Anmüuer achieves an audiovisual symbiosis, which asks about the origins and the basis of medieval music, philosophy, architecture and religiousness. The film thus creates a musical painting with medieval chants by the Hilliard Ensemble, accompanied by a scientific dispute, and choreography by Johann Kresnilc. The chant, the dispute and the dance run like a thread throughout the film; they weave around and together attempt to bring Perotin's time and music back to life. The director did not so much employ the classic documentary format with interviews and a historical ambience, rather, his focus was on the presence of music and the staging of the images and the participants. The four scientists Martin Burckhardt, Rudolf Flotzinger, Christian Kaden and Jürg Stenzl, who were filmed in various places, such as the choir stalls of Schleswig Cathedral, discuss the fundamentals of Perotin's music. In the film, the scientists do not just engage in scholastic dispute, they also play around each other as part of a staged workshop discussion. Only, the workshop is a church; the church as a space where Perotin's music can and was able to develop. The film also opens up another sphere of experience; watching the renowned choreographer Johann Kresnik creating a dance. Through the medium of dance, the choreographer and the two dancers, Simona Furlani and Tanja Oetterli, look for ways and possibilities to make the lyrics of Perotin's vocal music comprehensible to us today.