Christian Death - Halos

A bit of a misnomer, THE BEST OF CHRISTIAN DEATH FEATURING ROZZ WILLIAMS does present tracks by the L.A.-based goth-rock band in its early-1980s heyday with the doomed eponymous frontman. Far from a consistent overview, however, this ’99 collection largely draws from songs that originally appeared on Christian Death’s debut, ONLY THEATRE OF PAIN, and features a number of tunes in remixed form, including the surging “Spiritual Cramp.” Though it works as an introduction to Williams-era Christian Death (as opposed to the later Valor Kand-led period), THE BEST OF is outshined by DEATH CLUB 1981-1993, which covers much of the same ground with more emphasis on classic studio versions.

Lutoslawski - Musique Funébre

This work for strings is dedicated to the memory of Bela Bartók. Musique Funebre is a one-movement work made up of four linked sections: ‘Prologue’, ‘Metamorphosis’, ‘Apogeum’ and ‘Epilogue’. The first is constructed in the form of alternating canons based on a 12-tone row based exclusively on tritones and minor seconds. The ‘Metamorphosis’ builds up to a violent presto, while the ‘Apogeum’. The centre of the work leads to a central unison by contraction of the pitches used. The final ‘Epilogue’ begins fortissimo, after which the canons reappear until only a solo cello remains.

Musique Funebre was written at the invitation of Jan Krenz in 1958 and first performed by the Great Symphony Orchestra of Polish Radio and Television conducted by Jan Krenz on 26 march 1958 in Katowice.

TUXEDOMOON-Live in St Petersburg

In a review published the day after this concert, a writer for the St. Petersburg Times stated that Tuxedomoon "dupe 'tolerant' Russian audience." And perhaps he's not the only one feeling duped, as the group has made heavy in-roads into electronic music's cutting-edge festivals and record stores, mostly likely thanks to the patronage of one DJ Hell, who has reissued the groups most dance-pop oriented work, "No Tears" and "What Use," with a plethora of remixes by notable electro acts like Adult. and Ectomorph. But anyone familiar with Tuxedomoon's original music (as one should be before paying for a concert) knows that this band of global living avant garde-ists fuse the mechanical sounds of Kraftwerk to the noise-nik posturing of no wave, making for a minimal broth not meant for festive ears. In fact, Tuxedomoon are at their best when not acting out their early-'80s post-punk temper, regardless of how trendy the watered-down 21st century version can be, and instead delve into a dirge-like cavern of songwriting familiar to those who fancy Nick Cave and Crime and the City Solution. Vocalist Blaine L. Reininger sounds so much like Cave at times, that it would be easy to confuse the two, were it not for the rudimentary trampling of bassist Peter Principle in place of the epic sweep of the Bad Seeds. The group covers Cole Porter's "Nite and Day" and dangerously approaches smooth jazz territory on several occasions, but if we're to really appreciate Tuxedomoon as the experimental group they are alleged to be, we must take the failed trials along with the successful ones. And fortunately, the band's creative ADD means that you're never stuck in a bad place for very long.

Reviews edited from: allmusic.com :)