Runnner - Always Repeating - COMPACT DISCS [CD]

Runnner's sophomore full-length, A Welcome Kind of Weakness, emerged from a simultaneous tear in songwriter Noah Weinman's body and life. Written during the months spent bedridden and healing from a torn achilles and the drastic upheaval of a breakup, the 11 songs on this record are Weinman's most bracing, inviting the perceived vulnerability of the album's title willingly. But at the same time, these songs are Runnner's most present, defiant and self-assured, a reminder of the resolve that can come from gracefully accepting submission. Longtime fans of Weinman's likely fell for his signature homespun indie rock, recorded almost exclusively in bedrooms and home studios, where his poignant and self-deprecating lyrics float over beds of banjos, guitars and reverberant horns crescendoing to cathartic peaks. But on A Welcome Kind of Weakness, Weinman soars for the first time in high fidelity. Runnner's first studio record, it recalls the larger-than-life highs of the early aughts rock that Weinman grew up on, bands like Coldplay, Radiohead, and Snow Patrol with their pristine vocal presence, scintillating guitar riffs, and astral synth sparkle. This is rock music in it's most delicious form, music that gave Weinman something to look forward to when he could finally play live again. But as high as the sonic highs may be on A Welcome Kind of Weakness, we also see Weinman struggling gracefully with the questions that emerge from moments of physical and emotional undoing. As he sings about spackling holes in the house he shared with his ex and reckoning with a long span of physical futility, we're reminded, too, of all the spectrums of experience we endure. We are all perpetually pulled between polls-weakness/resolve, nostalgia/presence, powerlessness/control-but it takes a certain bravery to sit in the murky middle long enough to write about it. And in his willingness to b

Piazzolla intentionally allowed a great deal of interpretative freedom in the Concierto para bandoneón and the Doble concierto - Hommage à Liège, encouraging the performer to be ever more creative; he himself stated that his concertos revived the tradition of the so-called tango a la parrilla of the 1940s, in which improvisation played a considerable role. This disc offers a new reading of Piazzolla's work, in which the codes and the richness of traditional tango reinforce the strength of his music. William Sabatier, accompanied by the Dijon Bourgogne Orchestra under Leonardo Garcia Alarcón, here presents two highly representative works by Piazzolla that also established the bandoneon as a solo instrument.

Forever RunningInch is the debut studio album by the British new wave/post-punk band B-Movie. Formed in Mansfield in 1979, they became part of the early post-punk and new wave scene in England. Influenced by bands like Ultravox, Japan, and The Cure, they blended melancholic synth textures with catchy melodies. Released in 1985, the album features a polished mix of synth-driven new wave, post-punk, and alternative rock, showcasing the band's melodic and atmospheric style. It also includes their 1982 hit, InchNowhere Girl.