While Sven Helbig's Pocket Symphonies is presented by Deutsche Grammophon as a collection of lavishly produced songs in symphonic guise, the style has more in common with adult contemporary or easy listening categories than with classical music. Despite the appearance of Kristjan Järvi, the MDR Leipzig Radio Symphony, and the Fauré Quartet, who bring ample talent and commitment to the proceedings, the album actually consists of lush and occasionally lively instrumentals that no one would mistake for western symphonic music, except for the use of an orchestra.
Sven Väth is looking relaxed. The global House and Techno scene continues to define his life but he deals with it now at his own pace. To his mind, all that stuff is not only brimming with life but also directed by a higher order or even by the kind of “soul” familiar to us from older historical genres such as Jazz or Blues.
Canadian hard rockers SVEN GALI hit the scene in 1992, part of a wave of second tier acts making a last grab at hair metal and melodic rock's waning popularity. The band had a style very similar to SKID ROW, thanks in large part to vocalist Dave Wanless, who was a dead ringer (vocally) for Sebastian Bach. Sven Gali's self-titled 1992 debut album is a hard hitting, melodic rock album.
Sven Gali's first of only two albums sounds a lot like watered-down Slaughter. And given that Slaughter themselves are no great fountain of innovation, Sven Gali's sound is as close as can be to machine-manufactured, paint-by-numbers metal lite…
This absorbing project finds Australian composer Brett Dean and Estonian composer Erkki-Sven Tüür drawing inspiration in very different ways from the music, life and times of Carlo Gesualdo and juxtaposes these reflections with Gesualdo’s own music. The music of Carlo Gesualdo, Prince of Venosa (1566-1613) has exerted a powerful influence on composers down the ages. His highly-charged, mannerist, idiosyncratic vocal music constitutes “a gallery of dramatically-lit portraits of human emotions with a heavy emphasis on the extremes of joy and despair” (to quote former Hilliard Ensemble singer Gordon Jones).