The New York Times 2 December 2020

This recording marks ground zero of the Three Tenors phenomenon and reminds you of all that it was supposed to be. There's only one tenor here–Luciano Pavarotti–and because he's partnered by different voice types–soprano Joan Sutherland and mezzo-soprano Marilyn Horne– the possibilities of substantial artistic collaboration are much greater. Though this event was heavily hyped and would've driven audiences wild no matter what, the singers use the concert as an occasion to do things they'd never do on the opera stage, such as the Sutherland-Pavarotti duet from Otello". In their prime, they were one of the great operatic teams, as were Sutherland and Horne. And this concert gives ample evidence why. It's essential for fans of these singers.

PALLBEARER are back with new album, »Forgotten Days«. Carefully plotted throughout 2019, the quartet's fourth long-player eschews the compositional maximalism that hoisted predecessor »Heartless« aloft for the heaviest groove and the most visceral hooks to come out of the Arkansans to date. Spread across eight towering tracks, »Forgotten Days« sees PALLBEARER embracing their roots again, but this time with a doom-infused metallic spark that's infectious and transcendent. Indeed, this album is everything a PALLBEARER fan could love. It is a raw and riveting evolution, filled with emotion and the unique downcast exuberance that has defined the band's storied career.