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José de Nebra, born in 1702 to a family of musicians from Aragon, already made his career in Madrid as a young man at the age of 17 he took over the position of organist from Tomás de Victoria and also celebrated great success at the opera. In 1736 he was appointed organist and later vice kapellmeister of the Royal Chapel. From this time on, his creative focus was on sacred music and he created more than 170 sacred compositions. After the coronation of Fernando VI and his wife Bárbara de Braganza, the musical work at the court experienced a great revival the queen brought the famous musicians Scarlatti and Farinelli to the Spanish court and the Royal Chapel also experienced a great boom. Nebra's Requiem, first performed at the funeral of Queen Dona Bárbara de Braganza on 29 August 1758, clearly stands out from his sacred works written for two choirs, string orchestra and two flutes, it combines techniques of the great vocal polyphony of the Renaissance with the modern compositional style influenced by Italy. Until well into the 19th century, Nebra's Requiem remained in the repertoire of the royal orchestra as the preferred work for royal funerals, and the magnificent work is now available here as world first recording.
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José de Nebra, born in 1702 to a family of musicians from Aragon, already made his career in Madrid as a young man at the age of 17 he took over the position of organist from Tomás de Victoria and also celebrated great success at the opera. In 1736 he was appointed organist and later vice kapellmeister of the Royal Chapel. From this time on, his creative focus was on sacred music and he created more than 170 sacred compositions. After the coronation of Fernando VI and his wife Bárbara de Braganza, the musical work at the court experienced a great revival the queen brought the famous musicians Scarlatti and Farinelli to the Spanish court and the Royal Chapel also experienced a great boom. Nebra's Requiem, first performed at the funeral of Queen Dona Bárbara de Braganza on 29 August 1758, clearly stands out from his sacred works written for two choirs, string orchestra and two flutes, it combines techniques of the great vocal polyphony of the Renaissance with the modern compositional style influenced by Italy. Until well into the 19th century, Nebra's Requiem remained in the repertoire of the royal orchestra as the preferred work for royal funerals, and the magnificent work is now available here as world first recording.

Around the Fur the follow-up to Deftones' passionate, aggressive Adrenaline, sees the California quartet expanding on the sheer rage of their earlier work, adding new, more sinister shades to their already extreme sound. The opening InchMy Own Summer (Shove It),Inch serves as an introduction to the album's sonic theme sinewy guitars and eerie whispers alternate with fast, violent crunch. Sepultura's Max Cavallero contributes guitar and vocals to InchHeadup,Inch while InchMXInch finds singer Chino trading off vocal lines with Annalynn Cunningham, (wife of Deftones' drummer Abe) in an acerbic take on the rock star mentality. Vocal acrobat Moreno attacks a variety of styles his breathy, psychotic recitations sound downright industrial, while the album's calmer, more brooding moments show his gift for haunting melody. Behind him, guitarist Stephen Carpenter's heavy wall of sound is astoundingly muscular, yet inspiringly agile. When Deftones' hellish fury hits full tilt, as it always does on this album, Moreno's voice erupts into screams which are best described as otherworldly, transforming this intense musical firestorm into a hurtling juggernaut of aggression. This LP version comes pressed on 180 gram vinyl. Album Tracks 1. My Own Summer (Shove It) 2. Lhabia 3. Mascara 4. Around the Fur 5. Rickets 6. Be Quiet and Drive (Far Away) 7. Lotion 8. Dai the Flu 9. Headup 10. MX

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