Georgian composer Giya Kancheli wrote seven symphonies between 1967 and 1986, all sharing an organic one-movement form. If his work has been in danger of losing its identity amid the tide of spiritually motivated music to come out of the ex-Soviet Union in recent years, these persuasive performances will set the record straight. Both are distinctly Russian in character: grave, ritualistic, shot through with religious symbols – pealing of bells and fragments of Georgian ‘church songs’ – long paragraphs punctuated by crude blasts, in the manner of Schnittke or Ustvolskaya, and brief flashes of caustic vulgarity – sudden jazz ‘wowing’ in the brass or a sinister quoting of a Bach invention. The Second rises gradually from an ascending four-note scale, richly suspended across the brass. Kancheli’s control of its sustained, circular development is extraordinary, moving from a gargantuan anticipation of the melody with its wistful, downturned coda to bright, dancing Stravinskian ostinatos in the wind and back again. The longer Seventh Symphony is conceived on a more conventional and grandiose scale. Suffused with Georgian folksong, its powerful rhetoric and hefty orchestration hark back to the world of Shostakovich, though veiled in a prayerful introspection peculiar to Kancheli.

Polydor/Universal’s The Face: The Very Best Of Visage collects 15 tracks from the early-'80s synth pop supergroup (featuring members of Magazine, Ultravox, and The Rich Kids), including four versions of their international smash, "Fade to Grey." Longtime listeners who picked up 1993’s Fade to Grey: The Singles Collection will find much of the same here (minus fan favorite “Beat Boy”), but the remixes – which range from excellent (“Fade to Grey" [Michael Gray Mix 2009]) to just passable (“Fade to Grey" [Lee Mortimer Remix 2009]) – and the ultra-hot, club-ready mastering job should entice those who have yet to add these over the top electro-pop legends to their MP3 collections.