Cameron Mitchell - Mystery That Is - COMPACT DISCS [CD]

A glorious choral Christmas collection of music from around the world! Through Chris de Silva's incredible choral writing and inspired instrumental scoring, the themes of Christmas are exquisitely retold - those of light, darkness, shepherds, angels, heaven, earth, fear, wonder, peace, joy, silence, and sound. Chris de Silva's formal, classical composition training shines through on each piece. From the joyfully powerful InchSinging, We Come SingingInch to the regal InchThe Child Is Born in BethlehemInch and the dance-like InchShepherds on to Bethlehem,Inch each of these eight pieces work beautifully as stand-alone choices for your choir's Christmas celebrations. Together, the pieces would work well as part of a well-rounded lessons and carols service. For choral music lovers, the Mysterium recording will become one of your seasonal favorites!

Critically praised as a mirror of sorrows and a beacon of hope, the music of Winterpills - true to it's name - is medicine for weary hearts. At the core of Central Chambers, their newest album and third overall, the Northampton, Mass. Quintet maintains it's signature chamber-indie ambience while exploring new grounds sonically and lyrically. In it, you'll hear production running the gamut from boombox lo-fi to crisp studio sonorousness; dense rockers balanced by quiet hymns; and an overall diversity in instruments and textures. All of this backs the wandering words of songwriter Philip Price, and here we can see him condensing his meditative lyrical approach into mantras contemplating the frailty of humanity. A performer with a background in 90's powerpop (The Maggies) as well as solo-acoustic songwriting, Price sought something of a middle ground. Woodshedding sessions in the winter of 2004 led him and friends Flora Reed (piano, vocals), Dennis Crommett (guitar) and Dave Hower (drums) to become Winterpills, crafting a neat balance of heartrending lyrics, rich pop and dreamy guy-girl harmonies. Their self-titled debut, released in November of 2005, drew numerous comparisons to Elliott Smith, Ida and 60s torchbearers like Simon and Garfunkel and Neil Young. It was hailed as Incha disc of faultless, sparkling indie popInch by NPR's David Dye, while No Depression called it Inchalternately sad, cynical and deeply moving.Inch Soon the band recruited bassist Brian Akey and returned to writing and recording. Their stunning follow-up, The Light Divides, was released in February of 2007 to much acclaim, described by The Boston Globe as Inchdusky, quietly ripping folk-pop that sounded at once intimate and universal.Inch It was dubbed Inchpainfully prettyInch and InchsublimeInch by the Philadelphia Daily News, and The Washington Post said InchPrice's lyrics are densely packed bu

Mr. Mitch is one of a small group of producers who in the last few years have been re-imagining the decade-old genre of Grime. Miles Mitchell, a 26 year-old South East Londoner, started his own Gobstopper tag back in 2010 after having his debut on Butterz. Last year he started the flourishing Boxed 'Instrumental Grime' night alongside producers Slackk, Logos and Oil Gang. For Mr. Mitch, Grime has 'always been an experimental and progressive genre, taking elements of what came before it and pushing those boundaries to create something new'. His debut album is called PARALLEL MEMORIES and Miles has an intriguing story that explains that title. When listening to his tracks, he sees the same vivid scenes in his head each time he replays the music, often repeated snapshots of his life in various impossible scenarios or distorted situations. This made him think 'What if the images I'm seeing are memories from an alternative version of me in a parallel dimension?' a question which reflects his vision of Grime too, as his instrumentals are informed by a quite personal and emotive alter-life, where Grime's famous minimalism gives way to a gentle subtlety and is imbued with a very different feeling to the brash aggression associated with the genre. This is an album that deserves to find an audience who are willing to go on a journey into new areas with Grime. Swirling child-like synth melodies, coiling over flattened, but airy kick drums. The Night follows sounding like something Boards of Canada might do if they came from S. E. London, it's gorgeous flute melodies opening up gracefully over minimal rhythms and shifting static tones. 'Intense Faces' marks a shift in the energy to bassline, synth swoops and sharp claps, a child-like bleep tune playing out over the top. 'Don't Leave' switches the mood to one of sadness, it's rising chords evolving over a repeated, slowed-down a