Fossilium Catalogus i Animalia 122123

With 25 years of reign and seven acclaimed albums under their belt, Grammy-nominated metalcore pioneers As I Lay Dying are back with an unmissable new album that will define their legacy for years to come. Poised to be one of the most highly-anticipated metal comebacks in years, the band’s eighth full-length studio album, Through Storms Ahead, will drop on November 15, 2024 via Napalm Records. Following their 2019 album, Shaped By Fire, which Loudwire named one of the best albums of that year, the new album is an evolution of newly explored elements that further bolster the proven line-up of vocalist Tim Lambesis and guitarist Phil Sgrosso alongside recent newcomers Ryan Neff (bass, clean vocals), Nick Pierce (drums) and Ken Susi (guitar).

A versatile collection of Concertos and Arias by Vivialdi, from I Solisti Ambrosiani. The Solisti Ambrosiani are an Italian ensemble specialising in early music and in the philological performance on original instrumentation, founded in 2008 by the soprano Tullia Pedersoli and the violinist Davide Belosio.

Navona Records is proud to present SUBLIMITAS, a symphonic album bringing to life the posthumous works of composer Michael G. Cunningham. Performed by the Janáček Philharmonic Orchestra, Cunningham’s 5th and 6th Symphonies soar with spirited flair and clarity. These works are thoughtfully paired with his Mountain Poem, a jubilant and moving piece composed with musical peaks and valleys that simulate a thrilling adventure. As a composer whose works span 11 previous Navona Records releases, the works presented on SUBLIMITAS make for a delightful final parting gift from an artist who showed an unwavering dedication to sharing his music with the world.

Among the current sensations of the historical-performance scene is I Barocchisti, from Italian Switzerland, and its director and harpsichordist Diego Fasolis. The group released performances of Bach's six Brandenburg Concertos on a pair of discs, with the second disc also containing the Concerto for flute, violin, harpsichord, strings, and continuo in A minor, BWV 1044. Whatever may be said for breaking up the set in other situations, this radical approach is best appreciated as a whole. Part of the charm of these classic works is their differentiation, somewhat obscured in modern performances (and even in some on historical instruments) that use a large string section.