If you didn't know that Electric was completed in 2000, you could easily assume that it was recorded back in the 1970s. That's because this solo offering isn't much different from the recordings that Paul Rodgers made with Bad Company and Free during his youth. Instead of trying to be relevant to the alternative rock scene of 2000 like some veteran rockers have done, Rodgers excels by sticking with what he does best: 1970s-type arena rock that is slick and bluesy at the same time. "Freedom," "Deep Blue," "Jasmine Flower," and other selections don't break any new ground for the British singer (who wrote and produced all of the material himself), and Electric will hardly be considered cutting-edge by 2000 standards.

Cet enregistrement, comme les mémorables Fées du Rhin d'Offenbach, chef-d'oeuvre de l'édition 2002 où Friedemann Layer était déjà au pupitre, fait partie de la série consacrée aux oeuvres "redécouvertes", si l'on peut dire, par René Koering à travers le Festival de Radio France-Montpellier dont on saluera au passage la programmation courageuse et originale.

'Some of the most joyously delightful music that you will ever hear’ (American Record Guide). ‘A most striking performance, beautifully modulated, elegantly phrased … very well recorded indeed’ (BBC Record Review)

O Negative, Tiamat, Sisters of Mercy, and sixth album The Antidote finds the Portuguese group existing in its own unique, creative headspace. Bolstered by a thoroughly enveloping production - which carefully places lush, gothic textures into harsh, metallic realms, and vice versa - and accomplished, memorable songwriting, The Antidote is easily the group's most ambitious effort. The band utilizes a rich sonic palette that smartly balances melodic hooks, keyboard textures and an impressively strong foundation of steely guitar riffs; moody, rousing numbers ("Capricorn at Her Feet," "Crystal Gazing," "The Southern Deathstyle") mingle with lengthy, spacious excursions ("Lunar Still," "As We Eternally Sleep on It") and exemplary fist-pumping anthems that toe the line between the black/death metal grit and commercial sheen ("In and Above Men," "A Walk on the Darkside")…

During 1967-69 avant-garde innovator Albert Ayler recorded a series of albums for Impulse that started on a high level and gradually declined in quality. This LP, Ayler's first Impulse set, was probably his best for that label. There are two selections apiece from a pair of live appearances with Ayler having a rare outing on alto on the emotional "For John Coltrane" and the more violent "Change Has Come" while backed by cellist Joel Friedman, both Alan Silva and Bill Folwell on basses and drummer Beaver Harris. The other set (with trumpeter Donald Ayler, violinist Michel Sampson, Folwell and Henry Grimes on basses and Harris) has a strong contrast between the simple childlike melodies and the intense solos.

Solar Nights is the long-awaited second album from German nu-disco star Tim Bernhardt, aka Satin Jackets. Released on Eskimo Recordings Solar Nights follows on from Bernhardt's critically acclaimed, and Gold certified, debut Panorama Pacifico and features 14 tracks of smooth disco and leftfield pop sounds with guest appearances from the likes of Future Classic's Panama, David Harks, Niya Wells, Emma Brammer, and Anduze. The global success of Panorama Pacifico has seen Bernhardt coaxed out from his remote studio in one of Germany's ancient forests to play to fans across the world, from South Korea to Mexico and beyond, experiences that inspired both the album itself and its title, Solar Nights.
"In recent years the world's become smaller, a more inter-connected place…