Enigma Best of 2 cd

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.

ATB is the alias of progressive house/trance DJ and producer André Tanneberger, a native of Freiberg, Germany, born in 1973. ATB's catchy, vocal-driven singles crossed over from clubs to mainstream pop radio, making him one of the most recognizable artists of trance's late-'90s/early-2000s commercial peak…

A trim, at times, almost balletic Falstaff. If that seems a ludicrous contradiction, I should explain that it refers to Dutoit's spirited interpretation of the work, not the central character, though Falstaff himself has shed a few pounds in the process but is no less loveable. Indeed, Dutoit's swift tempo for the second section (at the Boar's Head) has the theme for Falstaff's 'cheerful look and pleasing eye' sounding less like Tovey's understandable misunderstanding of it as ''blown up like a bladder with sighing and grief''. The trimming down process is abetted by the Montreal sound, with lean, agile strings and incisive brass (the horns are magnificent). Some may feel a lack of warmth in the characterization. I certainly felt that the first presentation of Prince Harry's theme (0'40'') could have done with a richer string sonority. Doubtless, too, there will be collectors who, at moments, miss the generous humanity of Barbirolli, or the Straussian brilliance of Solti. And although Mackerras is wonderful in the dream interludes and Falstaff's death, the start of his fourth section, with Falstaff's rush to London only to be rejected by the new King, is short on teeming excitement and anticipation. (Gramophone)