GUTTED present their third album, «Mankind Carries The Seeds Of Hell», which forces you to wake up at night in a cold sweat with a state close to a heart attack. This is truly a dark, well thought out and talented creature in the genre of brutal death metal from the Hungarian masters. Oppressive atmosphere of the Middle Ages permeates each of the eight high-speed and high-tech tracks.

The Voulez-Vous album was first released in April 1979. And now, a Deluxe Edition featuring the original album remastered and expanded with bonus tracks, plus a companion DVD with television performances from 1978 and 1979, is released.
The DVD features a BBC in-concert documentary, TV performances, TV commercials and a gallery of picture sleeves.

The Rat Pack was a group of actors originally centered on Humphrey Bogart. In the mid-1960s it was the name used by the press and the general public to refer to a later variation of the group, after Bogart's death, that called itself "the summit" or "the clan," featuring Frank Sinatra, Dean Martin, Sammy Davis, Jr., Peter Lawford, and Joey Bishop, who appeared together on stage and in films in the early-1960s, including the movie Ocean's Eleven.

There's much more to Shostakovich's 24 Preludes and Fugues than meets the eye. Perhaps they make a deceptively arid impression upon casual sight-reading, yet pianists who commit themselves eventually discover far more variety of expression between pieces and consequently give cogent shape to the composer's subtle textural interplay. David Jalbert is both into and on top of these works, both stylistically and pianistically. For example, the E major Prelude stands out for Jalbert's finely honed legato touch and superb timbral integration of registral extremes. In his freely lyrical approach to the D major Prelude, Jalbert's phrasing distinctively characterizes the left-hand lines and right-hand arpeggiated chords. Also notice the pianist's asymmetric, harmonically aware accentuation of the B-flat major Prelude's rapid "flight of the bumble-bee" figurations and his ability to suggest the slower, more severe fugues' bleak sensibility without sounding lugubrious or bland. At the same time, Jalbert's secure technique enables him to wring maximum musical satisfaction from the thornier selections, such as his dashing, playful account of the D-flat major Fugue's quirky cross-rhythms.

We’ve had several releases in recent years of works by the likes of Lourié, Roslavets, Wyschnegradsky, Deshevov, and Popov: forgotten composers demonstrating an inspired level of early Soviet Era music-making in styles that were subsequently abandoned. Leonid Polovinkin (1894–1949) is apparently next up for rediscovery. In 1914, he entered the Moscow Conservatory, graduating a decade later, and began two years of post-graduate work. He then taught orchestration and analysis at his alma mater for six years before joining the Moscow Central Children’s Theater as music director. Like Roslavets, Polovinkin was an active member of the radical Association for Contemporary Music (ACM), and even created several “collectivist” works—such as The Four Moscows, with Mosolov, Alexandrov, and Shostakovich, and a symphonic Prologue with Mosolov, Roslavets, and Shostakovich.