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The Year the Sun Died
Sanctuary
Pop - Released October 6, 2014 | Century Media
Seattle thrash metal warriors Sanctuary launch a long-delayed comeback with 2014's The Year the Sun Died. The group disbanded in 1992 after two fine albums on Epic, with singer Warrel Dane and bassist Jim Sheppard going on to form the highly successful Nevermore shortly thereafter. The band's remaining members essentially left the music business and a Sanctuary reunion seemed unlikely, though they'd taken on somewhat of a cult status over the years. Suddenly in 2010, the band announced a slew of festival appearances, leaving fans to wonder if a new album might possibly follow. Sure enough, in 2014 prominent metal label Century Media announced the arrival of The Year the Sun Died, Sanctuary's first new album in 25 years. Aggressive, heavy, and tuneful, the band hasn't missed a beat, combining bits of dark, creepy thrash and strong melodic leads. Dane's voice doesn't quite reach the high octaves of his late-'80s peak with the band, but sounds confident and his style here is more in keeping with efforts in Nevermore. It's a nice mix of classic thrash and modern metal by an often overlooked band getting a second chance to make its stand.© Timothy Monger /TiVo
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Echoes
Orchestra of the Swan
Classical - Released May 12, 2023 | Signum Records
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Rays of Winter Sun - EP
Nils Wülker
Jazz - Released November 10, 2023 | Warner Music Central Europe
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True Genius
Ray Charles
Soul - Released September 10, 2021 | Tangerine Records
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In the year of his 90th birthday (which he would have celebrated on the 23rd of September 2020 had he not died in 2004), Ray Charles is honoured with a new 90-track compilation box set. Just another compilation like all the rest? Yes and no. Ray Charles is undoubtedly one of the most-compiled artists in the history of music. Published by Tangerine, the label that the musician set up at the end of the 50s to keep the rights to his songs, this box set starts out like all the others: with the post-Atlantic hits, Georgia On My Mind, Hit The Road Jack, One Mint Julep, Busted... These are timeless treasures of proto-soul, but there doesn't seem to be much novelty here. The rest is much more interesting, and much rarer: tracks recorded between the second half of the 1960s and the 2000s, many of which were only released on vinyl, never reissued on CD and until now unavailable on digital. This is the first time that Ray Charles' lesser-known years have been given the compilation treatment in this way, and it is a revelation. In the 90s and 2000s, the production of his songs had a synthetic feel, and they did not age too well. These rarer songs are often hidden gems of southern soul, flavoured with country and wrapped in sumptuous symphonic orchestrations. Whether he is singing the Muppets (It's Ain't Easy Being Green) or Gershwin (Summertime, a duet with Cleo Laine), Ray Charles is always deeply moving. Now, the dream is to hear reissues of all these albums in their entirety. © Stéphane Deschamps/Qobuz
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The Genius Of Ray Charles
Ray Charles
Rock - Released November 1, 1959 | Rhino Atlantic
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Some players from Ray Charles' big band are joined by many ringers from the Count Basie and Duke Ellington bands for the first half of this program, featuring Charles belting out six songs arranged by Quincy Jones. "Let the Good Times Roll" and "Deed I Do" are highlights, and there are solos by tenorman David "Fathead" Newman, trumpeter Marcus Belgrave, and (on "Two Years of Torture") tenor Paul Gonsalves. The remaining six numbers are ballads, with Charles backed by a string orchestra arranged by Ralph Burns (including "Come Rain or Come Shine" and "Don't Let the Sun Catch You Cryin'"). Charles' voice is heard throughout in peak form, giving soul to even the veteran standards.© Scott Yanow /TiVo
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Live In Australia
Elton John
Pop - Released June 1, 1987 | UMC (Universal Music Catalogue)
The late '80s were wrought with equal measures of tremendous professional popularity and personal crisis for Elton John. As he would reveal later, this inspired double-LP live collection released in 1987 captures the artist at one of the best and worst times of his life. In fact, John cites the emotionally charged "Don't Let the Sun Go Down on Me" and "Sorry Seems to Be the Hardest Word" as triggering what would become a "severe mental breakdown," the results of nearly a decade of substance-fueled decadence. On top of it all and perhaps most tellingly is John's tattered voice. So dire was the situation that literally within weeks of the concert he would undergo a surgical procedure that could have easily ended his career had it failed. Perhaps the ultimate irony is that at this precise moment John was launching his re-association with MCA Records via this live career retrospective, which was simultaneously broadcast throughout the entire globe. Keeping all of that in mind, Elton John once again proved himself as a consummate showman, performing at the peak of his abilities. John's comparatively small combo is augmented on these tracks by the 88-piece Melbourne Symphony Orchestra under the direction of onetime bandmate James Newton Howard. There are a few surprisingly strong readings of early sides such as "60 Years On," "I Need You to Turn To," "The Greatest Discovery," and an edgy and soulful version of "The King Must Die." Other unexpected detours into John's catalog include the intimate desperation of "Tonight" from Blue Moves (1976) and "Have Mercy on the Criminal" from Don't Shoot Me I'm Only the Piano Player (1973). There are also the hits and enthusiast favorites "Tiny Dancer," "Your Song," "Candle in the Wind" (which was issued as a single and topped pop music charts worldwide), the previously mentioned "Sorry Seems to Be the Hardest Word," and "Don't Let the Sun Go Down on Me." The companion home video includes a few additional performances, such as the thoroughly inspiring "One Horse Town." While not entirely essential, Live in Australia is at its core an adeptly executed concert package.© Lindsay Planer /TiVo
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20 Years of Gloom, Beauty and Despair
Swallow The Sun
Metal - Released July 30, 2021 | Century Media
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It's all about timing. Like their music, as slow as it is atmospheric, deeply anchored in their death doom roots, Swallow The Sun took their time before delivering their first live album after 20 years of playing together. The Finnish band was able to book this concert in the last few days before the first lockdown, thus taking advantage of the fervour of an audience who had come to celebrate this anniversary in real life, before they were relegated to the world of live streaming.This lucky audience was treated to a performance divided into two parts: the first acoustic, performed with a string quartet, and the second, electric, which was much heavier. The melancholy that permeates the first set is like the vocals, more composed and fragile, but it also delivers a small note of hope, as if a little light entered the hall during Pray for the Winds to Come. That piece brings Swallow the Sun closer to bands like Anathema or Katatonia.Naturally, the second half of the concert summons much darker forces, whose power comes largely from the saturated guitars that back up the much more guttural voice that now takes centre stage. This set consists of songs chosen by fans via a campaign run on social media. The group deploys all its energy, lives up to its doom label and plunges the audience into a world of more assertively black metal sounds (the singing goes from a deep death vibe to more black metal screams) balanced out by airy melodies (a trademark that we find in almost all the tracks from Don't Fall Asleep to the magnificent closer, Here on the Black Earth). Organically alternating between fragility and massive sounds with perfect control, 20 Years Of Gloom, Beauty and Despair - Live In Helsinski owes its success in part to the presence of a loyal audience, a human factor that breathes life into events like these. Because a concert is above all, a moment of sharing. © Chief Brody/Qobuz
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