The secret has been out for a while now. After nearly nine years apart, Swedish prog rock legends Beardfish are back. Songs For Beating Hearts is the first new music from Beardfish in nine years, but as its many magical moments unfold, it really is as if the band had never been away.
With strong echoes of past glories but a whole new vibe of wistful wonderment, Songs For Beating Hearts is a glowing testament to the magic that happens when these four musicians join forces. From the dreamy melancholy of the opening Ecotone and the intricate opulence of five-part sprawl Out In The Open, to the prog-friendly pastoralism of bittersweet 11-minute epic Beating Hearts, and the sobering prog-noir of the closing Torrential Downpour, Beardfish have not just made their strongest work to date, but also their most emotionally resonant…

Showbiz has been in Gwen Stefani's blood since the start of her career, which is the reason why she, unlike many '90s alt-rock veterans, can seem at home within the confines of the televised musical competition The Voice. Her very presence on The Voice, one of the last genuinely popular franchises on network television in the 2010s, guaranteed the existence of an album like You Make It Feel Like Christmas, one that's pitched directly in the mainstream. You Make It Feel Like Christmas plays upon her romance with co-host Blake Shelton, making her bouncy duet with the country singer the album's title track and first single.

"Rejoice, rejoice, up, praise the days!" - What Bach presents here cannot be summed up in criteria of masterful orchestral treatment and skilful text adaptation alone. The music-making of this opening chorus, unleashed by pithy kettledrum beats, directly grips the heart, belly and not least the legs of the listeners before any rational reflection, who want to jump up spontaneously from pews and desk chairs and do not have the slightest chance of escaping the contagious jubilation.

In Venice in the 18th century, Christmas was celebrated as only Venetians know how to celebrate: according to one account, more wax was burnt to light up the three storeys of the Procuratie on Christmas Eve, than in all the rest of Italy in an entire year. At the same time, rather than being an independent feast – and as such, the most singularly important one of the year – the Venetian Christmas was also part of the city's famous Carnevale, which at this time lasted for almost six months. This lent a rather special character to the celebrations, compared with for instance the more clerically inclined Rome.

There is some grand and characteristically sumptuous music on this record of motets and instrumental pieces that might have been heard during the feast of Christmas in St Mark's or one of the other great churches of Venice round about 1600 or a little later. A strong point in its favour, too, is the unhackneyed choice of programme: the instrumental Sonata pian' e forte, of course, is an old favourite, and the two earlier double-choir motets of Gabrieli, Angelus ad pastores and 0 magnum mysterium, are also relatively familiar; but the three remaining Gabrieli motets, all taken from posthumous publications and among his most elaborate polychoral pieces, are much less often tackled—not surprisingly, since they call for exceptional resources.

It's hard to say just what was hampering Cheap Trick's productivity in the first decade of the new millennium, but ever since they signed with Big Machine Records, they've become surprisingly prolific. Released in 2017, Christmas Christmas, the veteran band's first seasonal album, is their third full-length release in a span of just 18 months, and while many acts toss off Christmas albums with the care and enthusiasm that six-year-olds display when cleaning their rooms, Cheap Trick have offered up a full-bodied set of Yuletide rock & roll that doesn't spare the volume or the muscle. Christmas Christmas only features three original songs, but Cheap Trick have avoided many of the clichéd seasonal numbers that usually fill up these releases, instead opting for Yuletide numbers from for-real rockers.

Merry Christmas is the first Christmas album, and the fourth studio album, by American singer and songwriter Mariah Carey. Released by Columbia Records on November 1, 1994, the album features cover versions of popular Christmas tunes and original material. Merry Christmas has sold 15 million copies worldwide and is the best-selling Christmas album of all time.

An entry for the 2003 Christmas season was a natural move for Kenny Chesney after the blockbuster No Shirt, No Shoes, No Problems made 2002 his banner year. But in typical Chesney fashion, his holiday album tries to be a little more easygoing than the usual Music City rehash of tried 'n' true yuletide chestnuts. The sunny south of the border vibe that lit up the video for No Shirt's title cut is alive and well on All I Want for Christmas Is a Real Good Tan; the album's own title track is a nice, swaying number that approximates the Cascades' "Rhythm of the Rain" into its breezy Buffett feel. Like Chesney's best material, it's a contemporary country number crossed effortlessly with pop, and it's just a little bit cheeky, too. "Don't worry baby," he sings.

Acclaimed a cappella ensemble Straight No Chaser's cheekily titled 2016 effort I'll Have Another…Christmas Album is the group's third full-length holiday album since their 2008 debut, Holiday Spirits. Recorded at their original home of Indiana University in Bloomington, Indiana, the album features a handful of beloved Christmas carols and holiday standards including "Do You Hear What I Hear?," "Joy to the World," and "Have Yourself a Merry Little Christmas." As with previous albums, Straight No Chaser also apply their sophisticated harmonies to several contemporary pop classics like Mariah Carey's "All I Want for Christmas Is You," Kenny Rogers' "The Greatest Gift of All," and more. Also included are several brand new compositions from Straight No Chaser including the buoyant "Feels Like Christmas," featuring Jana Kramer.

Domenico Sarri numbered among the composers who enjoyed great success with their operas in Naples during the early eighteenth century, but gained renown throughout the rest of Europe principally with their sacred music. This CD features two wonderful works presented by the Sächsisches Vocalensemble under Matthias Jung.

One composer damned to musty obscurity not too long ago was Eugen d'Albert; while regarded as one of history's legendary pianists, his composing activity – which spans an especially interesting period from the 1880s to the early '30s – was seen as a stick-in-the-mud retention of German post-romanticism and therefore an unnecessary pursuit. However, his 1903 operetta Tiefland never left the repertory of the German-speaking stage, and it is the Theater Osnabrück that is co-branding CPO's release Eugen d'Albert: Symphony Op. 4 – Seejungfrauen Op. 15, which features the in-house symphony, the Osnabrücker Symphonieorchester under the baton of general music director Hermann Bäumer. The Osnabrück Symphony is a notably compact band usually numbering around 45 pieces, but it has a big sound nonetheless, captured generously in this fine CPO recording.

ew music-lovers will be familiar with the name of Giovanni Battista Costanzi. Some may know him as a cello concerto in D is attributed to Haydn (H VIIb,4), but also to Costanzi. That piece dates from 1772, close to the end of his life and career. The present disc includes a piece which he composed in 1723, when he hadn't even turned 20. At that time he had already entered the service of Cardinal Ottoboni in Rome. In 1729 his opera Carlo Magno was performed, which was a huge success. As a result he held some of the most prestigious positions in Roman music life in the next decades. It seems that Luigi Boccherini was one of his pupils. The French composer Grétry considered him one of Rome's most popular composers.

It's never easy to be the sibling of a star when you're active in the same profession - ask Joey Travolta or Frank Stallone, and try to find out what happened to John Murray, one of Bill's brothers. Similarly, David Knopfler, younger brother of Dire Straits frontman Mark Knopfler, has often remained in his brother's shadow, unfairly remaining a footnote in the famous British band's history and not always gaining much recognition for his solo work - provided people know he's remained active in music at all. The comparison to the abovementioned actors is misleading, however, since they all possess little of their siblings' talent, whereas David Knopfler has proven himself to be a talented musician with considerable songwriting skills of his own and several strong solo releases under his belt…