Impressive - A Great Continuance
348313
A really impressive second book considering the author was pretty new at all this. It holds up well to the first book. I was roped in immediately and even loved the slower moments in the book. The continuance of the character development is fantastic. You have to love Jamie and Claire even more. She has created so many interesting characters and the way she describes them makes them all real. There are a lot of exciting moments in this book, for sure. The kind that make you walk around holding the book and prop it up in front of you while you are brushing your teeth and using the bathroom! Sometimes I found myself scanning through some of the place descriptions, but overall that book was amazing and I had no choice but to jump right into book 3, which, so far, is also really hard to put down.
1695986
It's all been said before, and it's all justified - this is an amazing accomplishment and a thoroughly enjoyable read. Some readers find the jumping back and forth between styles and stories distracting and show off - y, but once you get used to it it works very well, a coherent kaleidoscope of impressions, images and story lines that constitute a grand literary feast.
I absolutely loved it and am curious to see if and how the film works.

Please keep them coming Mr Mitchell - you're restoring this reader's faith in contemporary literature.
2422059
Fluency ..maturity and full of surprises.another outing on the mark and
Off to the races..urging the listener to keep up.
278324
For those giving a somewhat sub-standard review on this album, they obviously don't understand the natural progression of any strong band. This album is very produced, yet is very nicely listened to from beginning to end. The prior albums where excellent listens as well, however, lacked the production 'punching power' that this album does have. I cheer the band for taking it to the next level,though bringing back the simplicity of some earlier material may benefit the next project for the ever growing legions of fans. They are a truly remarkable band live and anyone having the chance to see them will be justly rewarded in their effort.
2157446
So very impressive....fusion/acid jazz of the highest caliber, set of tracks and so on. You'd want to re listen it for sure
4935805
I'll keep this short and to the point. This is another great Walkmen album. If you liked previous Walkmen albums you'll like this one (although I wasn't too mad on Pussy Cats). I find it takes about four listens to get into it, then the true depth of the record reveals itself. This isn't a  record you'll throw away in a month or two, this is a record that persists. Enjoy - and as with many other Walkmen records, this one really shines on a proper stereo as opposed to headphones in traffic. Captivating...
4812622
This is my first review on Amazon, and I wanted it to be meaningful so I chose to review Infinite's "Over the Top" album.  Being no stranger to Korean pop, I have a general idea of what to expect and what I like in my music.  Infinite has always been an impressive rookie group since they debuted in 2010, but for some reason, the general public in Korea and international fans have not taken special notice of these 7 men until the release of this album, and for good reason.  Now, for good reason, I don't mean that their previous songs were bad; on the contrary, they were amazing, and I think this album has encouraged new "Inspirits" to take a look back to all of Infinite's previous EPs and singles ("Nothing's Over" and "BTD" being some highlights).  This album is great for those who enjoy dance-pop and synth with great vocalists (and dancers if you are willing to watch their videos).

"Over the Top" has some echoing sounds from their title track "Be Mine" which is one of their best songs to date.  "Be Mine" has a very addicting synth-pop to it that has gained them (arguably) worldwide recognition along with their very impressive choreography and dance skills.  I was addicted this song and found myself humming along during my midterm in October.  In general, Infinite's songs are arranged an addictive, almost old-fashioned way that is very compatible with my tastes.

"3'' 1" or "A Third Part" has similar production as "Be Mine" and their vocal talent is very evident even listening to just 3 tracks.  Hoya gets to sing as well as rap (do I hear Dongwoo as well?) and Sungkyu's voice is especially distinct in this track.  There is a part of the song where the lyrics read "Hey dummy, it ended already, that person's gone," demonstrating some self-admonishment, but nonetheless, this is a great song.

"Tic Toc" is another one of my favorite tracks on this album with a very epic-sounding beginning.  Hoya and Dongwoo's rap is quite appropriate for the overall mood of this track, which, as far as I can tell by reading translations, is melancholy and about trying to hold onto love.

"Julia" suddenly shifts the mood with a softer arrangement that focuses more on a large chorus sound (with presumably the 7 members) and is little reminiscent of American pop (JoBros a little? No?).  I especially like the overlay of the melody an octave higher within the chorus.  I'm not sure exactly what the "AOIOIOIA" means or if they are just saying random letters, but it works... I guess.  Julia, you are a lucky person.

Sungkyu's solo "Because" is a beautiful track that complements his style, although sometimes his "I hear that" sounds like "I heal that," but that's Engrish for you.  There are also a couple of awkward lines but otherwise the English is fine.  I personally love Sungkyu so I'm glad the leader has his chance to shine.

Easily the slowest song on the album, Woohyun's "'''" is a melancholy ballad with a nice melody, extending the range of genres that this album encompasses.

I thought "Amazing" was a happy, upbeat song about something like first love or being in love, but the lyrics keep talking about crying and becoming strangers, which is so contrary to the optimistic melody, but you can just imagine that it's about something happy.

True to its name, "Crying" is about... well, crying, sadness, heartbreak.  It only has the rappers, Dongwoo and Hoya, with a female artist featuring as the vocalist.  With a moderate tempo and less in terms of instrumentation, it is easy to listen to and the hook of "I cry, I cry, I cry" is pretty memorable.

L, aka Myungsoo, sings most of the parts in "Real Story" is a cute song showing the cute troubles of a couple in love.

It is not often in K-pop that you find an album in which all of the songs are memorable, but Infinite has done it with "Over the Top."  I myself have the repackaged album with "Paradise" (also a great song with an 80's feel), and I highly recommend this album to both K-pop lovers and people who are looking for somewhere to start.
3477765
This is episode 3 of the Beast Arises series, with another half dozen yet to be published on a monthly basis. Up to now at least, the momentum initiated in the first title of the Series had been holding up strong, with both this episode and the previous one remaining fast-paced, action-packed and exciting, regardless of authors.

As for the books title, it is indeed derived from a dramatically short and to the point speech given by the High Admiral to his fleet just before the beginning of a crucial do or die space battle against an Ork fleet and one of their moon-fortresses. The whole quotation (The Emperor expects every man to do his duty) is itself  as a number of UK readers will recognise - a paraphrase of Nelsons own speech and quotation (replace The Emperor by England) just before the battle of Trafalgar. The battle itself is quite gripping, with the Orks continuing to surprise.

Also included are the next step in the machinations, plots and violence taking place between factions on Terra. Without wanting to introduce spoilers, you can expect some rather extreme infighting and more murder at the crossroads, as you have already experienced in a previous episode.

The third continuing stand of the series is the story of Space Marine Captain Koorland, the sole survivor of his Chapter (the Imperial Fists  the Defenders of Terra) with the rest having been wiped out by the Orks. As he tries to rally those that made up Dorns old legion, you will come across four Successor Chapters and some rather interesting characters leading them, including one larger-than-life Marshall Bohemond who seems inspired by the Norman warlord and Crusader of the same name who carved out the Principality of Antioch for himself during the First Crusadebut again, Ill stop here to avoid spoilers.

Another interesting feature of this book relates to the characterisation. A number of new characters appear, especially among the fleet officers and senior commanders, the Inquisition and the Space Marines. As you will see, most of them are rather well drawn. The human naval officers are presented with their flaws, weaknesses and limitations. Some manage to overcome them while others somewhat fail. The ruthlessness and self-righteousness of the Inquisitors  irrespective of the faction that they belong to  is also well displayed.

The sense of loss, sorrow and honour among the descendants of Dorn in general, and as expressed by Captain Koorland in particular, is also well presented and so is his rather sympathetic but also unbending attitude towards humans. His interaction with a young scared but brave Navy Lieutenant is particularly interesting and quite different from the ambivalent or even disdainful attitude that some Space Marine characters may display in other books.

There are two more things to add, perhaps. One is that you do need or at least it is strongly advisable to read the previous episodes before picking up this one. The second point is just my little rant. This book has only slightly over two hundred pages. The advantage is, of course, that it can be read from cover to cover pretty quickly, and this is not negligible given that the story is exciting. However (and here is the rant!) and because it is exciting, I ended up wanting more, much more
4607745
Well, I suppose this recording could be used for those purposes - it is a sonic spectacular which will likely be used to test the capabilities of many audio components in years to come. Like many others, I have waited years for this to be issued in CD format. Back in the mid-1970s, I had a promo LP of this, but it suffered from the noise and muddiness that tainted some (not all) Columbia vinyl recordings. No longer - these spectacular performances are brilliant and clear in this format. Much fun here - "Ride of the Valkyries" is a triumph. Newman definitely does justice to this piece - his rendition is, well, brutal. The more nuanced Lohengrin Prelude is also rewarding. Throughout this recording, the brass voices get what must be an unprecedented workout - check out the "trumpet" fanfares on "Entrance of the Gods into Valhalla" - absolutely remarkable. All in all, this recording is even better than I recalled. The Liszt piece is an added bonus.
3399930
Short and sweet, they maintain progress yet solidly hint at the past. They move the progressive boundary forward, yet deliver wide accessibility. They continue to produce meaningful material with new dynamics and directions. This one grows on you fast and is superior in sound to the last release, but is LOUD (not a bad thing)! Is it just me or is James LaBrie's voice just getting stronger with age? Just another fantastic release from DT! Congratulations guys!! See you on tour for sure!
4788745
Outstanding performance, and the Blu-ray recording is very well done too, with excellent audio and video engineering.  Krall's jazz piano improvisations on the songs, along with with riffs by her long-time musical partners on guitar, drums and bass are technically stunning--they make the music appear almost effortless, and yet it is performed at such a high level of maturity and technical precision.  Granted, they must have these "improvisations" down pat (and so these probably should not be called improvisations), but they still toy with them, as if to entertain themselves.  Likewise, Diana's vocals have much of the same feeling of freshness--even though she has performed many of the songs thousands of times, I would imagine.

Nice twist by adding some Latin rhythms and Bossa Nova for some of Krall's prior recordings (I own almost all of her albums).  This recording includes a few new songs not recorded in previous albums at that time. In a playful way, Diana gets the audience to sing along.  Very enjoyable.
321069
As a long time fan of Mr. Mehldau's I must say that my admiration for him has grown steadily over the years and has continued to grow with this release. His music is mesmerizing, articulate and incredibly impassioned. I applaud him for breaking from the Art of the Trio series (although I sincerely love those releases as well) and breaking new ground on Largo. From the first notes on the first sone "When It Rains," it's quite apparent that the listener is in for something special. After reviewing early notes about this release, I was afraid that the varied instrumentation would distract from the piano. On the contrary, as planned, it serves to accentuate Brad's virtuousity. A must-have for any Mehldau fan and a great way to introduce yourself to one of this world's great artistic talents.
319806
I am broadly in agreement with the two preceding Amazon.com reviews and hesitated to give this five rather than four stars only because I have one or two minor reservations about the casting, the singers and the acoustic - but on balance this is a such a cheering, professional and uplifting experience that to deny it its five stars would be niggardly.

I have just reviewed the celebrated Ozawa DG version which still maintains pride of place by virtue of the exquisite playing of the Boston Symphony Orchestra and the contributions of Kathleen Battle, Frederica von Stade and Judi Dench, but it does not offer by any means as much of the text and melodramas as we have here, so its attractions are primarily musical and also leave us wishing that Ms Dench had even more to do. For a more comprehensive performance, this Virgin release is preferable. Its nearest competition is another new release from Naxos, which I have also just reviewed, but that Naxos disc is flawed and substandard in a number of crucial ways, even though I applaud their ambition.

The orchestral playing here from the Ensemble Orchestral de Paris is almost on a level with the BSO; intonation from the strings on a whisper of sound is fabulous yet they can also crank it up and give those big, blowsy French French horns (if you see what I mean) their head to make a really grand impact. In fact the Paris band play the finest, gossamer light overture I have ever heard, even better than Ozawa's fairy folk. My only concern is that they are recorded in a very resonant acoustic (the booklet does not give the location) but that suits conductor John Nelson's very theatrical conception. The chorus and two soprano soloists are fine but it is only when you listen to Battle and von Stade that you realise what is missing.

Another real strength is the acting; the Oxford and Cambridge Shakespeare Company really show up the inadequacy of the Naxos ensemble. The verse is beautifully spoken but not in the "preserved in aspic" style; these are modern actors who know how to deal with enjambment and understand the pulse of Shakespeare's verse. They speak with dignity, passion and nuance. The only minor weakness is a rather bland Bottom (if you will excuse the phrase) - but he has a lovely ee-aw. Some object to the rather hoarse, throaty voice of the Puck - even going so far as to say "he sounds like a truck driver". Apart from considering that to be very disrespectful towards those Knights of the Road, I do not see why Puck should necessarily be thought of as fey, feminine or childlike; surely he can be conceived as more of an impish, impudent, mischievous rascal, and for me the voice of a young man works. Although the duration of the performance is slightly less than the Naxos, it sems to flow and cohere better; we can almost follow the narrative in its entirety from the extracts selected - and if you don't want the melodramas and extra verse (though I don't see why you shouldn't when they enhance poetry which is as musical as the music itself), you can always skip it or programme it out.

As a bonus we hear more of that excellent orchestra in a stirring performance of "Ruy Blas". A splendid disc - and you even get a full libretto in the booklet instead of having to do that irritating thing whereby you have to download it and print it.
546926
This splendid symphony may not be exactly what Elgar had in mind, but I'm certain he would have been proud of it. From the strikingly majestic opening (which Elgar had already orchestrated), there is no doubt that the great composer's creative juices were flowing to the brim once again, a year before his death. The symphony positively abounds with Elgar's unique melodic inventions, and we owe Anthony Payne an enormous debt of gratitude for enabling us to hear them in such a potent context.
Leslie Berber's editorial gives the impression that this is a minor work, but nothing, in fact, could be further from the truth. Repeated listenings have merely confirmed my admiration for Elgar's vision of this work, and Payne's painstaking "elaboration", as the latter has described it. For this is a symphony of considerable vitality with a very wide palette of colours and moods.
The splendidly dramatic opening that I referred to quickly dissolves into one of the most lilting, tender melodies that Elgar ever composed, infinitely touching in its wistfulness. Then there is the exquisite Scherzo, with its Spanish flavour - the perfect balance to the haunting Adagio which follows. The latter is Elgar at his most introspective, with the first theme displaying an inner restlessness and searching quality before finding its resolution in the memorable second theme. The Adagio ends on a stark note, however, and represents the final music that Elgar wrote. The sombre mood is quickly replaced by one of grandeur in the final movement Allegro, arguably the weakest part of the symphony but impressive nonetheless with its old-fashioned themes of chivalry and swagger. It only jars in the sense that it seems more conventional than the first and third movements. My own opinion is that Elgar would have improved the Allegro beyond the indication of the sketches, and it is significant that this was the movement in which Payne had to do the most guesswork. Under the circumstances, he has done extremely well. Faced without a clear indication of how the symphony was supposed to conclude, Payne's musical "question mark" provides the perfect ending to a great journey.
I was thoroughly familiar with the first recording of the symphony, conducted by Andrew Davis. Although a very fine performance, it lacks fire at times, a fault remedied in Paul Daniel's interpretation. The difference is immediately noticeable from the opening chords of the first movement, with Daniel's bold, intensely dramatic delivery. Other notable improvements are the much brisker tempi that Daniel employs in the Scherzo (surely what Elgar had intended, rather than the almost-salon music approach that Davis takes), and a much fierier interpretation of the concluding Allegro. Daniel makes a strong case for the latter, making it a much more cohesive movement than Davis had achieved. I will say, however, that I preferred Davis's interpretation of the Adagio. Slower, more "other-worldly" (to paraphrase Payne) than Daniel's version, I found myself more drawn into Elgar's mysterious inner world than under Daniel's straightforward approach. I would certainly recommend that Elgar aficionados immerse themselves in both versions for sheer contrast.
The sound is a mite warmer under Davis, with Daniel's version brassier and cleaner in its dynamics.
Far from being "Frankenstein musicology", this is a symphony that cries out to be heard, and music lovers everywhere should be grateful that it was Payne, and not a mere musical hack, who undertook the reconstruction of this work. While it is true that with the copyright on Elgar's sketches expiring in 2004, anyone will be free to tinker with this work, it is comforting to know that the Payne version has already established itself as the definitive elaboration.
2178010
A unique perspective, continually spell-binding.
1738462
For some reason or another, I held off on buying IBM 1401 - A User's Manual right away. The reviews that I read on the piece were somewhat spotty, and while I enjoyed J&oacute;hann J&oacute;hannsson's first two albums Englaborn and Virulegu Forsetar, his more recent Dis album left me a bit cold. As it turns out, I was a bit dumb for not seeking out this album a little sooner, as it's another gorgeous modern classical entry from J&oacute;hannsson.

  The story behind the release is interesting, and definitely worth retelling, as J&oacute;hannsson's father worked for IBM in Iceland roughly 40 years back when they got their first 1401 Data Processing System. Also a musician, his father managed to program the machine so that it emitted electromagnetic waves in patterns that could be picked up by radio receivers. When the machine was put out of commission and replaced roughly five years later, his dad gave it a little ceremony that included playing some of the music he'd written for it.

  Those tracks were recorded, and J&oacute;hann J&oacute;hannsson discovered them a couple years back and using them as starting points which then developed into dance pieces in collaboration with choreographer Erna &Oacute;marsd&oacute;ttir. Eventually, J&oacute;hannsson. developed the pieces even further, filling them out with a full orchestra, and the result is this recorded album. "Part 1/IBM 1401 Processing Unit" opens the release very slowly, with a somewhat gritty sounding eight note melody from the IBM before an elegant string movement both accents the melody and fades away at times to leave it playing by itself. About halfway through, a ripple of cold electronics brings the piece to a high point before it closes in the same manner it began.

  "Part 2/IBM1403 Printer" follows, and it's even more sparse and stunning, with ringing bell notes and soft strings juxtaposed with samples of maintenance instructions for the old printer itself. In combination with spectacular pacing, the odd musical pairing (along with some spectral blips and bleeps) makes for what might be the finest track of the release. Both "Part 3/IBM 1402 Card Read-Punch" and "Part 4/IBM 729 II Magnetic Tape Unit" both take on similar feels and find the album at its most grandiose in terms of orchestral instrumentation as huge swells of dramatic strings pull and tug at the listener while odd little electronic effects (like thunderous bass hits, glistening bells, and other scrambled voices) creep into the mix in places and keep things from getting too glossy.

  With a vocodored voice, "Part 5/The Sun's Gone Dim and the Sky's Turned Black," not only sounds a lot like "Odi et Amo" from his Englaborn album, but reminds one a bit of the slow, singing shutdown of the Hal 9000 computer from 2001: A Space Odyssey. It's a touching close to the technologically-touched classical release, and finds J&oacute;hannsson back on solid ground after the aforementioned Dis. A great story behind it, lovely packaging, and another outstanding effort from this young composer.

(from almost cool music reviews)
1893259
Less orchestral-sounding and with a heavy increase on a jazzy, spontaneous feel - the reincarnation of the Tindersticks following the departure of several members a few years ago has found its stride with this impressive album. Too short, and with two instrumentals out of ten songs being my only criticism, it holds together and flows in one listening beautifully. Each song a complement to the next and previous. Such a shame that this will largely go unnoticed in the US, it should appear on "Best Of" lists in a just world.