The VIVALDI METAL PROJECT is a music creation born from an idea conceived and developed by Italian keyboard player, composer and producer MISTHERIA (solo artist, Bruce Dickinson, Rob Rock, Roy Z, Artlantica). The project is a symphonic-metal opera based on Antonio Vivaldi’s Baroque masterwork “The Four Seasons”, featuring more than 130 amazing metal and classical artists, orchestra, a string quartet and three choirs from all over the world. The album features 14 tracks - all the movements from Antonio Vivaldi's original score plus two original new songs written by MISTHERIA. The impressive roster of artists probably makes this titanic album the biggest all-star project ever!
"Leaving The End Open" is the third studio album by the American rock group Hardline. This is their first album since 2002's II. The new line up for the album features two new band members, Jamie Brown on bass guitar and Atma Anur on drums. "Leaving The End Open" is a mellower album than previous Hardline releases. Johnny's vocals sound wonderful and the musicianship is tantamount to faultless. The production is stunning too. You really can hear every note by every instrument at every single moment.
Hardline was born from a union between brothers Johnny and Joey Gioeli and Neal Schon (Journey) and Deen Castronovo, who were just coming out of the wildly successful Bad English. After the massive debut album, Double Eclipse, they returned 10 years later with II and two more albums followed. Fast forward to 2016 and Human Nature is the heaviest and strongest album since their beloved debut. The combination of Gioeli's vocals, Josh Ramos' incendiary riffs and Alessandro Del Vecchio's musical and production talents have created an album for the ages. A must for melodic hard rock fans.
Admirers of Kyung-Wha Chung will hardly mind the poor value in time-length (Kennedy, also on EMI, does not have a coupling, either), when it so winningly adds to Chung’s discography. It is the more welcome when, since her switch from Decca to EMI, new recordings from her have been all too few. This is an unashamedly traditional performance, one which has little or no regard for period practice, but gives us a sequence of four concertos in warmly relaxed readings. Unlike those of Kennedy and Mutter they avoid extreme speeds, either fast or slow.