Velox

If you're a big fan of early 80's punk/hardcore then this book/cd compilation is definitely for you. It explores the underground music that sprang up, then festered, in Victoria in those days. The booklet is full of old flyers and pictures and manages to shed some light on all the bands featured on the 2 cd set. The 79 tracks on here range from a few poppy New Wave bands to crude English-style punk to low-fi jambox recordings of adolescent hardcore bands like The Beaten Retards, Jerk Ward, and The Commodes. You can find some great early stuff by the Dayglo Abortions on here too. Some of the best tracks, if only for the title are: Millions of Dead BMXers, Fuckin' Jerk, Whiter Than Hitler, My Son is a Kuwahara, Too Much Drugs, etc… I love this stuff! If you're into the obscure stuff like I am…you can't go wrong with this! –Diehard Skatezine #6

Montreal's female vocal group Ensemble Scholastica makes its ATMA Classique recording debut with Ars elaboratio, a program of newly composed elaborations on medieval liturgical songs. The original songs were chosen from the medieval plainchant repertoire in homage to the group's favourite saints: Scholastica, champion of education; Cecilia, patron saint of music; Catherine of Alexandria, champion of justice and female wisdom; and Saint John the Baptist, patron to the ensemble's home province of Québec.

Luis de Pablo’s compositional output is tremendously attractive – for accordionists as well – in view of its outstanding originality and quality. It is also entirely different from the remaining contemporary repertoire for accordion: de Pablo’s particularly expressive musical vocabulary is perfectly tuned to the dynamic capacities of the accordion bellows, as well as to the instrument’s wide range of sonorities and extended performance options. We all agreed that an original work by a great master such as Luis de Pablo would make a valuable contribution to accordion repertoire. Amicitia calls for immense orchestral forces: fourfold woodwinds, four horns and four trumpets, three trombones and a tuba plus harp, celesta, timpani, four percussionists, and a complete lineup of strings. In spite of this vast scoring, Luis de Pablo employs the forces at his disposal with great subtlety, particularly vis-à-vis the accordion. Iñaki Alberdi has collaborated closely with different current composers, and premiered work by Sofia Gubaidulina, Karlheinz Stockhausen, Luis de Pablo, Joan Guinjoan, Gabriel Erkoreka, Ramon Lazkano, Jesús Torres, Agustín Charles and José María Sánchez-Verdú.

Luis de Pablo’s compositional output is tremendously attractive – for accordionists as well – in view of its outstanding originality and quality.

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