Pirate Queen is an all-female Pirate Metal band from Bermuda Triangle and Ghosts is their debut album.
Discovering Pirate Queen is like finding Eldorado. The album Ghosts has such addictive melodies, and it is so catchy that after a few listenings, it might transform you into a pirate. The songs are done with the mastery of mixing precious power metal with pirate, fantasy, symphonic, and fantasy elements. The beautiful guitar melodies and enchanting vocals of Her Majesty Maria Aurea offer explosions of notes and harmonies with a massive production that make this album a pirate metal masterpiece.

One of the most distinctive instrumental groups of the '50s and '60s, Johnny & the Hurricanes produced the Top Ten hit "Red River Rock" and scored several other instrumental hits that mixed rock & roll with traditional melodies. Originally known as the Orbits, the group formed in Toledo, OH, in 1958 and was led by saxophonist Johnny Paris; other members included organist Paul Tesluk, guitarist Dave Yorko, bassist Lionel "Butch" Mattice, and drummer Tony Kaye. After a stint recording with rockabilly singer Mack Vickery, the group traveled to Detroit, hoping to become a backing band for up-and-coming singers. However, a pair of music promoters, Harry Balk and Irving Michanik, signed them as a group on their own, and they recorded their first single, "Crossfire," for the Twirl label in 1959…

One of the great entries in Duke Ellington's "exotic" albums of the 60s - records that aren't exactly exotica by any stretch of the imagination, but which have musical themes that were inspired by the international travels of the Ellington band at the time! In this case, the locale is the Virgin Islands - where Ellington performed in 1965, and returned home to record this set as a memory of tunes played by the band in St Croix and St Thomas. The core of the set is the initial Virgin Islands suite - made up of four new tunes that include "Island Virgin", "Virgin Jungle", "Fiddler On The Diddle", and "Jungle Kitty" - all nicely rhythmic numbers that explore some fresh themes with especially nice horn solos from the members of the group. Other tracks are older numbers performed on the tour, given a bit of a new twist here.

Hungarian countertenor Zoltan Darago joins forces with Christophe Rousset and Les Talens Lyriques for his first album, in a programme encompassing the most beautiful cantata arias composed by J.S. Bach for the alto tessitura.

This album reveals the multiple facets of love according to Liszt - carnal, spiritual and divine all at once - from the prophetic masterpieces of his youth to the vast canvases of maturity. Bénédiction de Dieu dans la solitude and the Sonata in B minor mark his crowning achievement, anticipating the piano music of the modern era. Tanguy de Williencourt displays all the ardour and faith these remarkable works call for.

César Franck's Prelude, Variations and Fugue, originally composed for organ and inspired by pieces by J.S. Bach, benefits from Cavaillé-Coll's innovations, which allow the organ to develop virtuoso and colourful playing. Pianist Ivan Yanakov records it here on piano, alongside two other brilliant works: Joseph Haydn's Sonata No 31, whose graceful ornamentation responds to the serene (and unusual) key of A flat major, and Sergei Rachmaninoff's Variations on a Theme by Corelli. Rachmaninoff's last work for solo piano, composed in France after a silence of almost 10 years, is based on the folia theme used by Corelli in his Op. 5, while paying tribute to the Romantic composers, first and foremost Liszt, with unbridled virtuosity and poignant melancholy.

Collegium Vocale Gent and its founder Philippe Herreweghe continue their recordings of the works of Carlo Gesualdo with ‘Silenzio Mio’, which contains the Fourth Book of Madrigals, published in 1596. Regarded as one of the most eccentric composers of the late sixteenth and early seventeenth centuries, but also one of the most creative, he experiments here with new melodic and harmonic effects that enthralled listeners of the time. These innovations are applied to poems by Alessandro Guarini and several anonymous writers, all of which focus on the expression of personal feelings, particularly a ‘pathos’ new on the literary scene. A veritable historical testimony to the artistic turning point that occurred at the court of Ferrara in the early seventeenth century, this fourth book takes its place in the long-term recording project of Collegium Vocale, hailed by critics for its ‘homogeneity, contrapuntal transparency and luminosity, strikingly evident even in the most tormented pieces’ (Diapason).

Over the past decade, Steven Wilson's (Porcupine Tree) relationship with prog rock has grown increasingly intimate. He previewed a killer new band on the live album Get All You Deserve - woodwind/multi-instrumentalist Theo Travis, keyboardist Adam Holzman, session bass and stick player Nick Beggs, drummer Marco Minnemann, and guitarist Guthrie Govan - put a diverse, sophisticated face on Wilson's 21st century brand of the genre. The Raven That Refused to Sing and Other Stories is their first studio outing. Wilson was also able to coax Alan Parsons out of semi-retirement to co-produce and engineer the effort, and he fully committed: the album's crystalline, detailed sound and spacious ambience reflect some of his best work behind the boards…