Isobel Campbell & Mark Lanegan
'Hawk'
(VANGUARD RECORDS)

Isobel Campbell and Mark Lanegan (the former, co-founding sweetheart of Belle & Sebastian, him the toughened ex-frontman of Screaming Trees) return for their third album collaboration. The rocking Western tunes — furthered by Townes van Zandt covers — and country-folk mixed with blues paint an idyllic landscape of dusty tumbleweeds against faded Fords, but the real charm comes through, once more, in the odd couple pairing of Campbell's soft cooing and Lanegan gravelly husk.

The two, who have oft heard comparisons to legendary Nancy Sinatra-Lee Hazlewood, continue in that vein that is proving to be classic, if ever-surprising.

Since their first album ("Ballad of The Broken Seas," which was nominated for the prestigious Mercury Music Prize), a collection more languid, meandering and smooth, the duo has come forward with heavier guitar riffs and thumping drums in "Hawk," leaving behind the piano melodies to capture the ambiance of heat-waved sunrises.

"Snake Song" takes van Zandt's original and breathes new life into it with the barely-there, tantalizingly shadowing vocals of Campbell backing up Lanegan's lead. The Scottish musician, who is well-known for her affinity with the American South, shows her artistic strengths not only with her creative force (she provides the majority of the songs and arrangements), but also understanding when to step back for Lanegan or — in this album — guest Willy Mason's vocals to shine through.

Other tracks to look out for include "Come Undone," with its staccato piano minor chords and soulful violin, and "Sunrise," which recalls the tragic bleakness of the modern era a la Kill Bill's Western influences. "To Hell and Back Again" sees Campbell shine with wistful, patient vocals, a far cry from her typically soprano cooing.

The album rolls back and forth between the folk, country and blues genres, in the end providing a modern piece just right for an afternoon escape. Listening to "Hawk" is not only jarringly pleasing in Campbell and Lanegan's synergetic vocals, but also provides a glimpse into the chivalrous past (though less sexist and more glamorous), when belles were still belles and the hoarseness of a voice conveyed depths of emotion, trial and solitude.

— INES MIN

Iron Maiden
'The Final Frontier'
(WARNER MUSIC KOREA)

With the unmistakable vocals of Bruce Dickinson, sonic guitar interplay of David Murray, Adrian Smith and Janick Gers, rhythm section driven by founder and bassist Steve Harris with long-time drummer Nicko McBrain, Iron Maiden prove why after more than three decades they're still a force to be reckoned with.

"The Final Frontier," with iconic CD cover artwork featuring "Eddie the Head," cruises into familiar territory with another sci-fi themed body of work. With the exception of the studio effects-laden opener "Satelite 15," it's straight down to business especially on tracks such as "El Dorado," which slide into classic Iron Maiden with driving bass and guitar lines reminiscent of early classic "Run to the Hills."

With Dickinson sounding almost reflective on "Mother of Mercy" given potential references to his second job — commercial airline pilot — in lines such as "Coming home when I see the runway lights" this album is a must.

— JOHN REDMOND

Evgeny Kissin
'Mozart Piano Concertos 20 & 27'
(EMI CLASSICS)

Evgeny Kissin continues to astound. He's having one busy year, offering recordings for the bicentennials of Chopin and Schumann, and now he revisits his "roots" with Mozart.

The Russian pianist made his stage debut at age 10 with Mozart's Piano Concerto 20, and in 1992, RCA released then 22-year-old Kissin's interpretation of the piece opposite the Vladimir Spivakov-led Moscow Virtuosi. Here he shows he's still got that whiz kid flair but with a more maestro-worthy assurance as he himself conducts the Kremerata Baltica from the piano.

The virtuoso opted to pair the D-minor piece with Concerto No. 27, the last of Mozart's piano concerto cycle.

If he pays heed to the ominously dramatic theme of the former, then he curbs down orchestral power to give flight to his bold piano solo.

— LEE HYO-WON