Jul I'm Sorry

Trost im Leid veut rendre hommage aux plus beaux lieder sacrés composés pendant la maturité de Carl Philipp Emanuel BACH, sélectionnés parmi les 250 qu'il nous a laissés au total. Inédits pour la plupart, ces magnifiques lieder laissent s'éclipser graduellement l'influence baroque au profit des thèmes et des contrastes propres au style classique de Haydn et Mozart.

Having focused on music from their home country before, the Norwegian Soloists Choir here present a German programme, featuring two of the most influential composers in 19th-century choral music: Johannes Brahms and Franz Schubert. It includes both sacred and secular music, scored for male, female and mixed choir a cappella and accompanied, starting with a selection from Brahmss deservedly popular Zigeunerlieder for mixed choir and piano.

This album is marked by the interaction between John Lee Hooker and his guitar-playing cousin Earl. Earl, who succumbed to illness in 1970, was a fine bluesman in his own right, possessing a formidable slide technique. Many are unaware that the two often performed together, and the band that accompanies John Lee here also backed Earl frequently. The opening cut, then, a slow 12-bar number called "The Hookers" is not about ladies of the evening, but rather about the gentlemen in question.
Heard here less than a year before his death, Earl still sounds frisky and versatile, often utilizing a funky wah-wah style without ever descending into the psychedelic excesses that plagued so many late-'60s electric blues albums…

Over 30 years and many internationally successful albums, DIE KRUPPS have developed an unmistakable signature sound that is meant to stay…

Although highly productive and respected in his lifetime as a composer of Lieder, Robert Franz (1815–92) has since become a peripheral figure in music history. One reason may be that he avoids dramatic contrasts and instead aims at an emotional ambiguity: ‘My representation of joy is always tinged with melancholy, whilst that of suffering is always accompanied by an exquisite sensation of losing oneself’, he once wrote to Liszt. As a consequence his music appeals to those who are able ‘to admire the nuances of a charcoal drawing without longing for the colours of a painting’, to quote from Georges Starobinski’s liner notes to this recording. As they began to explore the songs of Franz, Starobinski and the baritone Christian Immler were moved by their findings to devise a programme which includes 23 of the composer’s often quite brief songs. Using the poet Heinrich Heine as their guiding star, they present these – all Heine settings but from different opus groups – in the form of two ‘imagined’ song cycles.

Blutengel are a German pop musical group formed by singer Chris Pohl (also of the groups Terminal Choice, Tumor, and Miss Construction and the owner of the Fear Section label) after he had to leave Seelenkrank due to contractual and legal problems. The lyrics are written primarily in German and English and are presented with male and female vocals. The themes of the songs usually centre around themes common in Gothic fiction such as love, vampirism, sexual fetishism, death, and immortality. The band calls their musical style dark pop…