The Sound of Speed is second in the trilogy of Jesus and Mary Chain "odds and sods" releases. This one isn't quite as essential as Barbed Wire Kisses (the first), but it definitely holds less cash-cow negativity and greater value over The Jesus and Mary Chain Hate Rock 'n' Roll (the third). The period covered here is 1989-1993, collecting most of the B-sides from Automatic and Honey's Dead. It's not quite complete, missing at least four B-sides ("Subway," "In the Black," "Terminal Beach," "I'm Glad I Never") and a small number of remixes. "Snakedriver" provides the best reason for picking this up, a classic Jesus and Mary Chain song in the sleazy, bluesy, "Beach Boys on lots of smack" mold. "Write Record Release Blues" skewers the Man while poking fun at themselves; one major demand: "Leave me in peaceful abject misery."
In 1956 Glenn Gould’s first Columbia Masterworks release, Bach’s Goldberg Variations, took the music world by storm and immediately established the 23-year-old Canadian pianist as one of the most brilliant, original, charismatic and provocative classical performers of his time. Sixty years later, Gould’s prolific recorded output remains a stimulating presence, thanks to Sony Classical’s newly remastered collection of his complete authorized recordings in an 81-CD limited edition. The Sound of Glenn Gould presents highlights from this definitive presentation of the legendary pianist’s discography.
An ambitious fusion of different musical genres, "The Lonely Traveller" tells the story of the journey from adolescence to adulthood; a time of becoming more conscious about the surrounding world.
Psychic Equalizer is the project founded by pianist and composer Hugo Selles in November 2011. "The goal has always been to approach music from new perspectives: mixing different styles, experimenting and trying to find new sound qualities," the composer says in the biography.
In short, Pipelare’s striking personality becomes apparent through hearing and analysing his masses rather than from the meagre details of his life. It is as if he redefines polyphonic composition with each work, rather than reverting to the tried and tested as say Jakob Obrecht did. There is nothing immediately recognisable, nothing that sounds even vaguely familiar, nothing can be categorised, rather everything sounds new, fresh, lively – wilfully individual!