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Live - An Epic Music Experience

Two Steps From Hell

Classical - Released November 4, 2022 | Sony Classical - Sony Music

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Teenage Mutant Ninja Turtles: Mutant Mayhem (Original Score)

Trent Reznor

Film Soundtracks - Released July 28, 2023 | The Null Corporation

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Liszt: Orchestral Songs

Thomas Hampson

Art Songs, Mélodies & Lieder - Released April 28, 2023 | Aparté

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This 2023 release from the Aparté label offers almost an embarrassment of riches. Begin with the presence of the veteran Thomas Hampson, giving Dietrich Fischer-Dieskau a run for his money as a singer who sounds great well into senior citizen-hood. There are a few shadows in the voice, but the sense of drama in Der Erlkönig is electrifying, perhaps more than ever. There are the younger singers whom Hampson has brought along for the ride, most notably soprano Sunhae Im giving commanding performances of three of Liszt's Schubert song orchestrations. There is the repertory; Liszt's orchestral songs are, in general, a neglected part of his output, and here are no fewer than four world premieres. Weimars Toten is a fascinating part of the cultural history of that metropolis, explicated nicely by annotator Klaus Aringer. There is also clear yet intimate, ideally idiomatic sound from the Lisztzentrum Raiding. One could go on with this list, but perhaps it is desirable to leave further items for listeners to discover on what will surely be multiple hearings. A wonderful recording. © James Manheim /TiVo
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Parry: Scenes from Shelley's Prometheus Unbound, Blest Pair of Sirens

London Mozart Players

Choral Music (Choirs) - Released September 8, 2023 | Chandos

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
Hubert Parry's Scenes from Shelley's Prometheus Unbound, from 1880, here receives its world-recorded premiere. Perhaps recording companies thought there wouldn't be much of a market for a heavy 19th century choral work with, it must be said, a ponderous text by Percy Bysshe Shelley (Prometheus was a play intended to be read, not performed, just to give an idea). How wrong they were. This release made classical best-seller lists in the summer of 2023, and it is altogether enjoyable. At the time, Parry was under the spell of Wagner, whom he traveled to Bayreuth to meet. That influence certainly shows up in Scenes from Shelley's Prometheus Unbound, with its basically declamatory text, partly through-composed music, wind-and-brass-heavy orchestration, and splashes of chromaticism. Yet what is remarkable is that the music does not come off as an imitation of Wagner at all. Rather, it uses elements of his style to match a specific kind of English literary text. The work gradually disappeared, but it would be surprising if Elgar, whom it clearly prefigures, did not know it well. The performances here are luminous, with William Vann using the lighter-than-expected London Mozart Players to create transparent textures against which he can set the substantial voices of Sarah Fox, Sarah Connolly, and other soloists. Parry did write some shorter pieces that remain in the repertory; one of these, Blest Pair of Sirens, is included here as a finale. However, the Scenes from Shelley's Prometheus Unbound are the main news here, and this performance, showing how this kind of thing should be done, may generate a new life for the work. © James Manheim /TiVo
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Swept Away

Marc Johnson

Jazz - Released September 7, 2012 | ECM

Hi-Res Booklet Distinctions Sélection FIP
No one familiar with the past work of bassist Marc Johnson and pianist Eliane Elias will be surprised to find that this album finds them working in an exploratory mode; Johnson has long been one of the most interesting bassists on the modern jazz scene, and Elias' résumé is all over the place. But the sweetness, the quiet, and the sometimes deeply haunting melancholy of Swept Away may catch listeners unawares. Elias and Johnson are joined here by the two musicians who are more perfectly suited to this type of project than any others on the scene today: saxophonist Joe Lovano (currently the go-to player for virtually every serious jazz session in New York) and the preternaturally sensitive drummer Joey Baron, a man who has made more session leaders sound wonderful over the past 20 years than any other. Baron and Johnson face a serious challenge on this program: the tempos are generally slow, the sense of swing sometimes nearly subliminal, and that puts bassists and drummers in an awkward position. But on tracks like "It's Time" and the lovely "B Is for Butterfly," they keep the thread steady and reliable without dictating a beat or drawing undue attention; when the time comes to lay down a solid groove (as on the wonderful "B Is for Butterfly"), they do so elegantly and seemingly without effort. Swept Away is the best example of what has come to be called "ECM jazz" -- quiet, spacious, and friendly, but complex as well and easily able to stand up to close listening.© Rick Anderson /TiVo
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SkyWorld

Two Steps From Hell

Classical - Released October 27, 2012 | Two Steps from Hell

These days, the only thing louder than the explosions in your average action/adventure/fantasy/science fiction film trailer is the music. After experiencing German composer Carl Orff's 1937 cantata Carmina Burana paired with slow-motion shots of men preparing for battle for the umpteenth time, composers Nick Phoenix and Thomas J. Bergersen decided that they would create their own production company, Two Steps from Hell, and create their own original trailer music. Skyworld, the company's third collection of compact bombast, is also its first to be widely available publicly (the previous two outings were marketed directly to film studios). The 22 tracks, all of which (as of 2012) have yet to find their celluloid soul mates, feel like the best parts of a Hans Zimmer score condensed into three- to four-minute bursts of over the top tension and melodrama, resulting in the perfect audio companion for a summer blockbuster fan in the doldrums of January, or an extreme sports enthusiast, conspiracy theorist, or necromancer. © James Christopher Monger /TiVo
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Archangel

Two Steps From Hell

Classical - Released September 20, 2011 | Two Steps from Hell

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Mahler: "Titan" Symphony (Version 2, 1893-94) - Live

Les Siècles

Classical - Released May 10, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 4F de Télérama - Diapason d'or / Arte - 5 Sterne Fono Forum Klassik
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The Sciences

Sleep

Metal - Released April 20, 2018 | Third Man Records

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Mahler: Symphony No. 1 in D Major "Titan" (Live)

Symphonieorchester Des Bayerischen Rundfunks

Classical - Released September 20, 2019 | BR-Klassik

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
If this 2019 release of Gustav Mahler's Symphony No. 1 in D major brings on feelings of déjà vu, it might be because Mariss Jansons has covered this ground before with his previous recordings with the Oslo Philharmonic on Simax and the Royal Concertgebouw Orchestra on RCO Live. Even so, Jansons' release on BR Klassik reflects his mature outlook on Mahler, and where his previous readings of the First may have been oriented primarily towards delivering a polished audiophile presentation, this live performance with the Bavarian Radio Symphony Orchestra delivers terrific sound quality and considerable musical depth. This symphony is extremely popular with audiences, and the wide availability of recordings may make it difficult to choose one over others, but this rendition is certainly a contender. Jansons plays the symphony as it was published in 1899, without including the rejected "Blumine" movement from the original form of the work as a tone poem, and even eschewing the symphony's persistent but unauthorized nickname, "Titan." The playing by the Bavarian Radio Symphony Orchestra is world-class in its vivid colors, vital rhythms, and technical virtuosity, and the trajectory of the work is skillfully controlled by Jansons, who builds energy and excitement without indulging in unorthodox tempos, except for some hectic rushing at the end of the first movement. On the whole, this is a satisfying recording that holds its own rather well against the competition.© TiVo
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Times Are Changing (from the Freevee Original Series Bosch: Legacy)

Built By Titan

Alternative & Indie - Released May 6, 2022 | Built On Robots

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Crime Pays

Willie Colón

World - Released January 1, 1972 | Craft Recordings

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A short yet well-chosen anthology of Willie Colón's early recordings, Crime Pays includes each of his biggest hits -- "Che Che Colé," "Guisando," "El Malo," "Juana Peña," "Jazzy" -- from the late '60s and early '70s. Though the Colón/Lavoe gangster-style cover earns bonus points for style, most fans of Willie Colón will want all of the LPs these tracks were compiled from.© John Bush /TiVo
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Seeing Through Sound

Jon Hassell

Ambient - Released July 24, 2020 | Ndeya

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Mahler: Symphony No.1 in D "The Titan"

Royal Concertgebouw Orchestra

Classical - Released January 1, 1986 | Deutsche Grammophon (DG)

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Crime Pays

Willie Colón

World - Released January 1, 1972 | Craft Recordings

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A short yet well-chosen anthology of Willie Colón's early recordings, Crime Pays includes each of his biggest hits -- "Che Che Colé," "Guisando," "El Malo," "Juana Peña," "Jazzy" -- from the late '60s and early '70s. Though the Colón/Lavoe gangster-style cover earns bonus points for style, most fans of Willie Colón will want all of the LPs these tracks were compiled from.© John Bush /TiVo
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REQUIEM: ATTACK ON TITAN

Grissini Project

Soundtracks - Released November 16, 2023 | Grissini Project

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Post-American

MSPAINT

Alternative & Indie - Released February 20, 2023 | Convulse Records

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TiTAN

Besa

Pop - Released March 11, 2024 | besa

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Light On

Built By Titan

Pop - Released April 14, 2023 | Built On Robots

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Mahler: Symphony No. 1, "Titan"

Royal Concertgebouw Orchestra

Classical - Released May 3, 2007 | Royal Concertgebouw Orchestra

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The two chief reasons to collect live recordings are for the excitement of the performance and for the natural sound quality, which, at its best, can beat many studio recordings for depth and resonance. These desirable conditions are almost met on this 2006 multichannel recording of Gustav Mahler's Symphony No. 1 in D major, which Mariss Jansons and the Royal Concertgebouw Orchestra present with energy and clarity on this terrific-sounding SACD. Of course, there are many renditions of this popular work, and with the increasing number of recordings available that employ state-of-the-art technology, it's not difficult to find a live performance that is as technically polished as this offering from RCO Live. With the exception of some faint humming that can be made out with close listening, there are really no egregious noises to mar it; the orchestra is remarkably clear in all its details, so audiophiles will find that this recording is as fine sounding as any on the market. While Jansons' interpretation is not especially inspired or provocative, it is at least reliable and committed; though some may feel the emphasis on making every last detail heard in this sonic showcase takes something away from the expression, this is counterbalanced by Jansons' subtle handling of tempos and phrasing, which keep the music from seeming wooden or artificial.© TiVo