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With Il Pomo d'Oro, conductor Maxim Emelyanychev, and a cast including Fatma Said as Dido's companion Belinda, DiDonato toured extensively in Europe. This recording was made in Essen's Philharmonie, where Michael Spyres took the role of Aeneas. The two stars have been through this all before, as Spyres sang Énée to DiDonato's Didon in the prizewinning Erato recording of Les Troyens, conducted in 2017 by the late John Nelson.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eDido and Aeneas, Z. 626: Overture\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Shake the Cloud from Off Your Brow\" (Belinda)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Banish Sorrow, Banish Care\" (Chorus)\u003c\/li\u003e\n\u003cli\u003eAct 1: \"Ah! 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Anchored by the title track and singable lead single \"Jesus Loves,\" the album boasts 12 tracks including early fan favorite \"Friend In High Places,\" along with a brand new collaboration with CAIN (\"Church Kids\"). The album is an invitation to the misfits, the church kids, and the prodigals alike. From the head-turning lyric in \"Killed a Man\" to the vulnerable honesty in \"Hello Hallelujah,\" Zach crafts songs that speak straight to the heart of real people walking relatable roads. He weaves themes of grace, grit, and the relentless love of Christ through every lyric, and because of that, `Jesus Loves' is more than a collection of songs-it's a reminder that no matter your story, you're already loved.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eJesus Loves\u003c\/li\u003e\n\u003cli\u003eParadise\u003c\/li\u003e\n\u003cli\u003eKilled a Man\u003c\/li\u003e\n\u003cli\u003eWait for Me\u003c\/li\u003e\n\u003cli\u003eFriend in High Places\u003c\/li\u003e\n\u003cli\u003eHated\u003c\/li\u003e\n\u003cli\u003eStory of My Life\u003c\/li\u003e\n\u003cli\u003eThe Potter (Nothing Is Wasted)\u003c\/li\u003e\n\u003cli\u003eSay a Prayer\u003c\/li\u003e\n\u003cli\u003eHello Hallelujah\u003c\/li\u003e\n\u003cli\u003eThank You\u003c\/li\u003e\n\u003cli\u003eChurch Kids\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 198029679229\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Provident\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.19.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Provident","offers":[{"title":"Default Title","offer_id":49061135319286,"sku":"694086","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2160\/4233\/files\/4447630-3425113.jpg?v=1757559537"},{"product_id":"pre-order-38-special-milestone-colored-vinyl-gate","title":"38 Special * Milestone [Colored Vinyl] (Gate)","description":"\u003cp\u003e50 years together. 20 million records sold. More than 15 albums of guitar-driven southern rock stacked high with hits like \"Hold On Loosely,\" \"Caught Up In You,\" \"If I'd Been the One,\" \"Back Where You Belong,\" and \"Second Chance.\" 38 Special is proof that there's strength in numbers. Milestone marks 38 Special's first studio record in more than 20 years, and it showcases the group's platinum-selling blend of muscle and melody, snarling guitars, anthemic hooks, and the desire to break new ground. There are co-writes with Jim Peterik (Survivor) and Randy Bachman (Bachman-Turner Overdrive, The Guess Who), duets with vocalist Pat Monahan (Train), and performances from a group of resilient road warriors who still play 100 shows annually. Written between tour dates and recorded during a series of live-in-the-studio performances, Milestone is a snapshot of a band in motion, flying the flag for an enduring form of classic rock \u0026amp; roll that never dies.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eSo Much So Right\u003c\/li\u003e\n\u003cli\u003eSlightly Controversial Featuring Train\u003c\/li\u003e\n\u003cli\u003eAll I Haven't Said\u003c\/li\u003e\n\u003cli\u003eThe Main Thing\u003c\/li\u003e\n\u003cli\u003eLong Long Train\u003c\/li\u003e\n\u003cli\u003eLooking for My Life\u003c\/li\u003e\n\u003cli\u003eMaking Up for Lost Time\u003c\/li\u003e\n\u003cli\u003eWindows of Memories\u003c\/li\u003e\n\u003cli\u003eThe Look\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 805859097429\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e 38 Special Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 9.19.25\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e New Vinyl Record\u003c\/p\u003e\n\u003c\/div\u003e","brand":"38 Special Records","offers":[{"title":"Default Title","offer_id":49061135384822,"sku":"484448","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2160\/4233\/files\/4438223-3409528.jpg?v=1757559537"},{"product_id":"pre-order-nation-of-language-dance-called-memory-colored-vinyl","title":"Nation of Language * Dance Called Memory [Colored Vinyl]","description":"\u003cp\u003eSynthpop, minimal wave, post-punk, goth, new romantic - fans and critics alike have dug deeply into their vintage thesauruses to describe the beguiling work of Nation of Language. And if you can't precisely define the band, that's the point. Frontman Ian Richard Devaney has become prodigious in expanding what synthesizer-driven music can evoke, such that his output is as much an extrasensory journey as it is an all-too-human destination. With that experience in mind, he wrote the band's fourth album - the spectral, spacious Dance Called Memory - in the most humble of ways: chipping away at melancholia by sitting around and strumming his guitar. Nation of Language's first two albums, Introduction, Presence (2020), and A Way Forward (2021), came as pandemic godsends: gorgeous, relatable soundtracks to our collective doldrums. But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade's Album of the Year. With that release, Pitchfork wrote that the band \"are learning what it means to get bigger and better.\" This is Devaney's calling: soulfully translating individual despair into a comforting, collective mourning. The single \"Now That You're Gone,\" which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather's tragic death from ALS, and his parents' role as caretakers for this ailing friend. At it's heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). \"What's so great about Nick is his ability to make us feel like we don't need to do what might be expected of us,\" says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette - sampling chopped-up drum breaks on \"I'm Not Ready for the Change\" for a touch of Loveless-era My Bloody Valentine, or smashing all of the percussion of \"In Another Life\" through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. \"There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I've been drawn to at different points. I've read about how Kraftwerk wanted to remove all of the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human,\" Devaney says. \"As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators I'm focusing more on the human condition, and I need the underlying music to support that... 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But it was their last LP, Strange Disciple (2023), that catapulted the group from cultural standouts to critical darlings, with the album being named Rough Trade's Album of the Year. With that release, Pitchfork wrote that the band \"are learning what it means to get bigger and better.\" This is Devaney's calling: soulfully translating individual despair into a comforting, collective mourning. The single \"Now That You're Gone,\" which radiates and reverberates with a devastating wistfulness, was inspired by witnessing his godfather's tragic death from ALS, and his parents' role as caretakers for this ailing friend. At it's heart, the song is a reflection of how friends can be there for each other, and also highlights a theme throughout the record: the pain and lost promise of friendships that fall apart. On Dance Called Memory, the band once again collaborated with friend and Strange Disciple producer Nick Millhiser (LCD Soundsystem, Holy Ghost!). \"What's so great about Nick is his ability to make us feel like we don't need to do what might be expected of us,\" says synth player Aidan Noell, who, along with bassist Alex MacKay, rounds out the Nation of Language lineup. They imbued Dance Called Memory with a shifted palette - sampling chopped-up drum breaks on \"I'm Not Ready for the Change\" for a touch of Loveless-era My Bloody Valentine, or smashing all of the percussion of \"In Another Life\" through a synthesizer to cast a shade of early-2000s electronic music. Ultimately, the hope was to weave raw vulnerability and humanity into a synth-heavy album. \"There is a dichotomy between the Kraftwerk school of thought and the Brian Eno school of thought, each of which I've been drawn to at different points. I've read about how Kraftwerk wanted to remove all of the humanity from their music, but Eno often spoke about wanting to make synthesized music that felt distinctly human,\" Devaney says. \"As much as Kraftwerk is a sonically foundational influence, with this record I leaned much more towards the Eno school of thought. In this era quickly being defined by the rise of AI supplanting human creators I'm focusing more on the human condition, and I need the underlying music to support that... 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Can a self-portrait be a collage? Can empathy be autobiographical? What's the point of living if we're not trying to understand all the horror and humor that surrounds everything? These are a few of the questions lurking under the bleachers of Wednesday's new album Bleeds, an intoxicating collection of narrative-heavy Southern rock that-like many of the most arresting passages from the North Carolina band's highlight reel so far-thoughtfully explores the vivid link between curiosity and confession. Leeds is not only the best Wednesday record-it's also the most Wednesday record, a patchwork-style triumph of literary allusions and outlaw grit, of place-based poetry and hair-raising noise. Karly Hartzman-founder, frontwoman, and primary lyricist-credits Wednesday's tightened grasp on their own identity to time spent collaborating on previous albums, plus a tour schedule that's been both rewarding and relentless. \"Bleeds is the spiritual successor to Rat Saw God, and I think the quintessential 'Wednesday Creek Rock' album,\" Hartzman said, articulating satisfaction with the ways her band has sharpened it's trademark sound, how they've refined the formula that makes them one of the most interesting rock bands of their generation. \"This is what Wednesday songs are supposed to sound like,\" she said. \"We've devoted a lot of our lives to figuring this out-and I feel like we did.\" Just like Rat Saw God, one of the defining rock \u0026amp; roll records of the 2020s so far, Bleeds came together at Drop of Sun in Asheville and was produced by Alex Farrar, who's been recording the band since Twin Plagues. 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