With "A Mortal Binding", the flower wilts once again…
British doom/death metal legends My Dying Bride are ready to release their 15th album, A Mortal Binding, via Nuclear Blast. For the highly anticipated follow-up to 2019's "The Ghost of Orion", the Yorkshire-based quintet delight us with a revamped line-up with the addition of permanent guitarist Neil Blanchett and the return of drummer Dan Mullins. While "My Dying Bride" has completed her 33rd year, her graceful age proves just as vital and heartbreaking as ever.
The songs "Thornwyck Hymn", "Her Dominion", "The 2nd of Three Bells" and "The Apocalyptist" are ultra-heavy, poignant anthems of doom, death and despair, while all shining through their romantic lyricism.

Following up the U.K. Top Ten success achieved by 1968 smash single "Race with the Devil" was never going to be an easy feat for Gun (when is it easy for any band?), but the sophomore slump experienced by the power trio's second LP, Gunsight, in 1969, still felt almost too predictable. Not unlike its preceding long-player, Gunsight invested in a broad variety of musical styles, easily dismissing any posthumous attempt to confine Gun to a psych-infused, proto-metal box, but as well as lacking that all important mega-hit to quell all troubles, the album's aggressive sonic experimentation arguably crossed the line from "daring" to just plain "unfocused." Not that you can blame them for trying. Lest one forget, even "Race with the Devil"'s hard rock heart had come wrapped in gusts of mariachi horns, and though the same applied to many of its fellow album tracks too…

Probably the best of all the many albums Longhair waxed during his comeback. A tremendously tight combo featuring three horns and Dr. John on guitar delightfully back the Professor every step of the way as he recasts Solomon Burke's "Cry to Me" and Fats Domino's "Whole Lotta Loving" in his own indelible image and roars, yodels, and whistles out wonderful remakes of his own oldies "Big Chief" and "Bald Head."

Julie London wasn't really a jazz singer, but she possessed a definite jazz feeling and many of her finest albums (such as Julie Is Her Name and Julie…At Home) feature small-group jazz backings. About the Blues was aimed at the 1950s pop market, but it may just be her best orchestral session. Since downbeat torch songs were London's specialty, the album features an excellent selection of nocturnal but classy blues songs that play to her subtle strengths instead of against them. Likewise, Russ Garcia's clever arrangements bleed jazz touches and short solos over the solitary strings and big-band charts. Like June Christy, London usually included a couple of new songs in with a selection of standards, and her husband, Bobby Troup, wrote two excellent numbers for the album. One of them, the emotionally devastating "Meaning of the Blues," is the album's highlight, and was turned into a jazz standard after Miles Davis recorded it the same year for Miles Ahead.

Probably the best Polish progressive symphonic group. It was founded in 1976. From the beginning, the musicians had concrete, defined musical interests. Their intention was to play rock music strongly influenced by classical music. Some people call them "Polish Yes" because of the symphonic sound and high, delicate vocal of Pawel Birula. They used to play mainly at the Warsaw student club Riviera-Remont where they had a lot of young fans. In the first half of 80-ies Exodus had a tournee in the USSR and West Germany. They recorded a few TV programs, did many radio recordings and released a few singles that were received very well. But singles don't adequately render the specific character of their music. They had the tendency for creating bigger forms of music and wanted their concerts to become para-theatrical shows…

The North London group Komputer began its career in the late '90s as an electro-pop act modeled largely after Kraftwerk but changed its style considerably in subsequent years, moving toward a more original sound. Comprised of Simon Leonard and David Baker, Komputer actually began as a trio, also featuring Jane Brereton, and debuted on Mute Records in 1996 with a self-titled, four-song EP led by "Valentina Tereshkova," a future single for the group. A year later, in October 1997, Mute released The World of Tomorrow, Komputer's first full-length album. Seemingly a literal homage to Kraftwerk, characterized largely by analog synths and vocoderized singing, the album spawned three singles - "Looking Down on London," "Valentina," and "Terminus" - that Mute released individually with accompanying remixes over the course of 1997 and 1998…

Devin Townsend, possibly more widely known as the frontman for the extreme metal act Strapping Young Lad, began creating solo albums in 1997. Sometimes referred to as the 'Mad Scientist of Metal', Townsend produces a wide variety of music. This ranges from soft ambience designed, as he has stated, to put the listener to sleep, to high levels of thrash and extreme metal reminiscent of SYL. His works often feature a 'wall of sound', built by adding many layers of guitars and keyboards that are playing in unison or harmony. The end result is a number of carefully produced and mixed albums that favor high-end sound systems. Devin Townsend Project is another venture of Devin Townsend, considered separate from the material released as Devin Townsend. The project was originally conceived to comprise four albums of differing musical styles, each with a different set of guest/session musicians backing Townsend, but ended up continuing beyond that.

Following his recorded debut as a leader for States Records, Junior Wells signed with Mel London, producing a number of sides for the producer's Chief and Profile imprints. Perhaps best-known for his spectacular harmonica playing, this period, documented on Calling All Blues, saw Wells emerging as an outstanding vocalist as well. A consummate performer with a firm grasp of the range of emotions the music can produce, Wells wrings every drop of feeling out of the lyrics. The singer growls, shouts, howls, moans across these 24 tracks including two versions of his great "I Could Cry" and other classics like "Little By Little," "Cha-Cha-Cha in Blue," and "Lovey Dovey Lovey One." While it has a great deal of overlap with the collections from Paula Records, Calling All Blues remains a fine introduction with no glaring omissions…

Having traveled the dusty road previously with alt rock singer Mark Lanegan, U.K. production duo Soulsavers turn to the equally tortured soul Dave Gahan (Depeche Mode) on The Light the Dead See, but this European union still opens their album with a mournful harmonica. Of course, Soulsavers have long been the production duo who prefers the sounds of spaghetti westerns to synthesizers, while making their guests sound as grand and grave as Leonard Cohen lost in the high lonesome, so this Depeche in exile is a perfect fit. Brooding across canyons here, Gahan is somewhere between James Dean and a preacher in this atmosphere, and even if his talk of darkness, the Devil, saviors, and the price you pay has all been covered with the Mode, he still sounds renewed, making sliding the downward spiral sound as intoxicating as ever, even when he explains what waits for those who hit the bottom…

Pat Martino has released a duo album with Grammy Award-winning keyboard player/arranger Gil Goldstein. This is also a re-performance of their classic 1976 album "We'll Be Together Again." With that in mind, Gil dared to use a Fender Rhodes. The sound it produces has a healing taste that will soothe not only jazz fans but everyone. The compositions included are mainly famous jazz songs that are popular in Japan in response to offers from Japan, but also include Pat's originals.

Kit Watkins has played keyboards for Happy The Man, Tone Ghost Either, and between 1979-1982 was a member of Camel (recording on I Can See Your House From Here as well as On the Road 1981 and On The Road 1982). He has also perfomred on recordings by Forrest Fang, The Blind Messenger, Richard Sinclair, Paul Adams and Djam Karet.

Frank Zappa loved '50s doo wop music. He grew up with it, collected it, and it was the first kind of pop music he wrote ("Memories of El Monte," recorded by the Penguins in 1962). Cruising with Ruben & the Jets, the Mothers of Invention's fourth LP, is a collection of such music, all Zappa originals (some co-written with MOI singer Ray Collins). To the unexperienced, songs like "Cheap Thrills," "Deseri," and "Jelly Roll Gum Drop" may sound like an average doo wop song. A closer look reveals unusual chord sequences, Stravinsky quotes, and hilariously moronic lyrics - all wrapped in four-way harmony vocals and linear piano triplets. A handful of songs from the group's 1966 debut, Freak Out, were rearranged ("How Could I Be Such a Fool" and "Anyway the Wind Blows" give the weirdest results), and old material predating the Mothers was recycled ("Fountain of Love"). "Love of My Life" and "You Didn't Try to Call Me" became live staples.

Steve Howe's solo albums seem to hold a wide variety of music within. Generally, this disc presents the listener with acoustic guitar solos, progressive rock compositions, country-tinged songs, and more. Historically, the more complex music of Yes has consisted of smaller pieces brought in by the individual members and assembled almost piecemeal into complex song structures. An interesting aspect of Howe albums is the opportunity to hear works that could easily have been such segments and get a glimpse into where the band could have gone. This album is true to that format. Steve Howe performs nearly completely solo on this release, accompanied only on percussion by his son Dylan Howe. When looking over the liner notes on this one, be sure to check out the list of guitars used on the album. For guitar heads, that is always a welcome portion of any Howe solo album.

In September 2009, Lisa Gerrard and Klaus Schulze performed another tour in six European cities - Warsaw, Berlin, Amsterdam, Essen, Paris, and Brussels. This tour coincided with the release of Come Quietly, a joint project between Gerrard and Schulze that was released during the tour.

Johnny Shines was far from predictable. Though he recorded his share of inspired electric dates, he had no problem turning around and delivering a stripped-down, all-acoustic Delta blues session like Too Wet to Plow. Recorded in Edmonton, Canada in 1975, Too Wet to Plow finds Shines in excellent form. His solid accompaniment includes harmonica player Sugar Blue and bassist Ron Rault, as well as guitarist/singer Louisiana Red (a superb bluesman who isn't nearly as well known as he should be), and Shines clearly has a strong rapport with them on "Red Sun," "Traveling Back Home," and other highly personal originals. Although Shines' own songs are dominant, one of the album's high points is an interpretation of Robert Johnson's "Hot Tamale."