2017 debut solo album from the frontman for Finnish goth metal icons The 69 Eyes, who've sold millions of albums worldwide. Jyrki's dark and brooding croon mixed with atmospheric keyboards and heavy guitars make this one of the most anticipated releases of the year, with tracks already being featured in several g films including the horror film Sunset Society (starring Lemmy from Motörhead), and Halloween Hell House (starring 21 Jump Street's Richard Grieco). In their early years, The 69 Eyes' sound was closer to glam metal, but since the album Blessed Be they have shifted into gothic rock. Jyrki's low and operatic vocal tone is reminiscent of fellow musician Peter Steele of the gothic metal band Type O Negative and has been heavily influenced by Elvis Presley, Jim Morrison, Iggy Pop, David Bowie and Glenn Danzig.
This performance of the fiery Fantasy in G minor for violin and orchestra, Op. 24, of Josef Suk, with violinist Christan Tetzlaff catching the full impact of the irregular form with its dramatic opening giving out into a set of variations, is impressive. And Tetzlaff delivers pure warm melody in the popular Romance in F minor, Op. 11, of Dvorák. But the real reason to acquire this beautifully recorded Ondine release is the performance of the Dvorák Violin Concerto in A minor, Op. 53, a work of which there are plenty of recordings, but that has always played second fiddle (if you will) to the Brahms concerto. Tetzlaff and the Helsinki Philharmonic under John Storgårds create a distinctive and absorbing version that can stand with the great Czech recordings of the work. Sample anywhere, but especially the slow movement, where Tetzlaff's precise yet rich sound, reminiscent for those of a certain age of Henryk Szeryng, forms a striking contrast with Storgårds' glassy Nordic strings. In both outer movements as well, Tetzlaff delivers a warm yet controlled performance that is made to stand out sharply.
During the last few years of his life, John Cage wrote many pieces in the same general vein as Five3. They are often referred to as "the number pieces." This references the titles of the pieces, which are all simply the number of the performers. Superscripts are added as necessary to distinguish the individual pieces (this is the third quintet, for example).
These works are also called "the time-bracket pieces," a reference to the notation of the pieces.