Fear City

On "Veins of Fire", Deserted Fear have again driven their songwriting, sound, and musical prowess into new territories. While remaining true to their trademarks, riffing and melodies yet also the drumming have been given an update, while vocalist Manuel "Mahne" Glatter extended his range even further. The lyrics on "Veins of Fire" reveal Deserted Fear as a band very much concerned and engaged with the most relevant contemporary issues without any urge to preach or to demand conformity. The songs on this album reflect a world full of insecurity, injustice, and growing divisions. The rise of death metal trio Deserted Fear is both remarkable and thrilling.

The City of Tomorrow releases Blow, a collection of three works for wind quintet, anchored by the premiere of a multi-movement work written for them by Hannah Lash. Guided by their virtuosity and commitment to polished interpretation, the album is an exploration of finely crafted compositions that take advantage of the rich colors of the instrumentation in all of its permutations.

Naxos intend to record Vivaldi’s entire orchestral corpus, and Raphael Wallfisch’s integral four-disc survey of the 27 cello concertos inaugurates this visionary, though plainly Herculean undertaking. Soloist and orchestra employ modern instruments; director Nicholas Kraemer contends that authentic protocols can be ably met by contemporary ensembles and, in articulation, style and ornamentation, these pristine, engaging readings have little to fear from period practitioners. Wallfisch’s pointed, erudite and spirited playing is supported with enlightened restraint by the CLS, directed from either harpsichord or chamber organ by Kraemer, whose sensitive continuo team merits high praise throughout. Without exception, these Concertos adopt an orthodox fast-slow-fast three-movement format. Wallfisch, dutifully observant in matters of textual fidelity, plays outer movements with verve, energy and lucidity, such that high-register passagework, an omnipresent feature of these works, is enunciated with the pin-sharp focus of Canaletto’s images of 18th-century Venice, which adorn the covers of these issues.