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"Candy Girl" sounds like a shoegazer's modern take on Berlin's "Take My Breath Away" — the song that soundtracked the makeout scene in Top Gun. Cool but still beautiful, it's touching, revealing and almost painfully intimate.

Conor J. O'Brien is the driving force behind the acoustic folk outfit Villagers, and his intensity pushed the band to the top of the charts in Ireland even before its debut had been released. In just a couple of years, Villagers has become one of the biggest musical names on the Emerald Isle and an internationally known folk group.

Absent any pining or angst, SZA's rapping on "Smoking on my Ex Pack" is matter of fact, leaving no room for questions, letting you know up top she's that girl.

There was only one copy of Once Upon a Time in Shaolin, and the government forced Shkreli to turn it over after his fraud conviction. Details are confidential, so don't expect to hear it anytime soon.

The deluge of songs immortalizing the wrath of Hurricane Katrina continues with the release of a collaboration between Elvis Costello and legendary New Orleans musician Allen Toussaint. The delivery is mostly coy and cool, the groove a classic example of Toussaint understatement.

Bryars' first major composition, The Sinking of the Titanic, still sounds as vital, fresh and forward-thinking as it did when it was written in 1969. The piece was performed in 2008 as part of the Wordless Music Series recorded by WNYC in New York City.

Although an agnostic, Verdi was a man of profound conscience and spirituality. In his Requiem, he projects the essentials of humanity — piety, emotion, agitation and capacity for hope — as compassionately and dramatically as in his operas.

Donizetti had already composed more than 60 operas when he wrote Don Pasquale, a brilliant comedy warmed by the composer's trademark touch of gentle pathos. The production is from the Grand Theatre of Geneva.

Musicians have a long tradition of staring down military dictatorships and oppressive governments in Brazil.

The title track from Ward's remarkable Post-War, this weary, trancelike spell of a song anticipates a moment of reckoning. It doesn't bring solutions or add to the rhetoric of grief — instead, the sleepy tenderness of Ward's voice, framed by pedal-steel guitar, offers an aura of consolation.