2020 saw the English rock band Arena celebrate their 25th Anniversary of the band's first critically acclaimed studio album"The Theory of molecular inheritance" was due for release in 2020 but because of delays/ pandemic / and tour postponements the Album is finally here with the now rearranged 27 date European tour being undertaken in September/October 2022. Renowned Artist David Wyatt has illustrated books by JRR Tolkien, Terry Pratchett alone with other Arena albums in the past and now he's has now rejoined Arena to design the Artwork for The Theory of molecular inheritance. New Vocalist: Damian Wilson is an English musician, songwriter and vocalist who has appeared on over 70 separate album releases. Damian is mostly known in the progressive metal genre, as the lead singer of Headspace and Threshold. He also sang and toured with bands and projects such as for Star One, Ayreon, Praying Mantis and with Rick Wakeman's English Rock Ensemble. As a solo artist he has released 5 solo albums.

Bennett and Pinnock get it right. The period orchestra has the right balance and sonority; there is much more space in the texture so that all of the voices sound distinctly. Bennett, on a keyed trumpet, plays the solo part with flair and in balanced dialog with the orchestral counterpoint, and he uses the most engaging cadenzas, fills, and ornaments I've ever heard. Pinnock brings to the reading as a whole the sense of protortion, the earthiness, the rhythmic vitality that animate the Classical style, bring it to life. I can't imagine it being done any better.

Before hearing Jacques Offenbach's works for cello and orchestra, abandon any expectations of serious concerto writing, and prepare instead for musical comedy, albeit of an instrumental variety. Offenbach's habitual tunefulness and tendency to compose medleys undermines conventional notions of form and development, and his Concerto militaire in G major is far from orthodox. While the cello is featured prominently and given many choice passages for virtuosic display, the stringing of one infectious melody after another makes this work more comparable to the later potpourris from the operettas. The Four Impressions are really collaborations between Offenbach and Friedrich von Flotow, which were orchestrated later by Heinz Geese from the cello and piano score.

Mendelssohn's First Piano Concerto is much more popular, and more frequently played, than his Second. When you listen to this disc, you'll find out why. The First is an inspired piece with memorable themes, enjoyable but not ostentatious display for the piano, and a great sense of fun. The Second has unmemorable themes and a similar style without conveying the sense of fun. For those who like lesser Mendelssohn better than I do, this disc is very well played throughout, although the piano takes Howard Shelley's attention away from conducting and the orchestral playing isn't as distinctive as the piano playing.

Unless you’re in deep the music way, the name Adrian Belew might not ring a bell. Truth of the matter is that Adrian Belew was the secret weapon to the biggest names in music for the better part of nearly 5 decades; Frank Zappa, David Bowie, Talking Heads, Tom Tom Club, and Trent Reznor are just a handful of artists Mr. Belew lent his skills to on some of the biggest albums of the last 50 years. And that’s not even the most amazing thing about this man. He was the singer/guitarist for the 80s return of King Crimson as well as having a prolific solo career, spending time equally in the experimental and power pop side of things. At 70-years old Adrian Belew shows no signs of stopping. His new album Elevator is a beautiful and clanging ode to his work as both a mad scientist behind the six string, as well as his ability to write gorgeous pop songs in the vein of Lennon/McCartney.

In Flames represent the best of metal's past, present, and future. In Flames are as vital and even more energized today than when they unleashed classics like Come Clarity and Clayman in decades past. Foregone, the furious fourteenth studio album, combines the greatest aggressive, metallic, and melodic strengths of their landmark records with the seasoned songwriting of their postmodern era. The melodic guitars, crushing riffs, and high-speed tempos that define much of the In Flames catalog first crystalized on their second album, The Jester Race (1996), complete with hints of the catchy choruses to come. Whoracle (1997) is the rawest and arguably heaviest In Flames album from the 90s.

Though in step with its time, this release suffers from excessive reliance on ambient synthesizers, which litter much of the recording, rendering it only slightly more interesting than many of the Windham Hill new age recordings of the same era. Unfortunate, because the disc opens with strength and gradually peters out by the end. The disc opens with "He Came From the North," which features a melody based on a traditional Lapp joik from the artist's native Norway and progresses into a longer section with an interplay that is both sparse and rhythmic. The sax line here is astonishingly beautiful. The second piece, "Alchuri, the Song Man," a sax and percussion piece, is energetic and lively as well. And from here the energy gradually diminishes. Much can be attributed to popular styles of the time, but this release simply does not stand up to other music of its genre that came later.