Evil Penguin Classic

Evil Penguin Classic Evil Penguin Classic is a classical music label, part of the Evil Penguin family. Yes, we record classical music, but not in any classic sense.

EPR-Classic is the youngest daughter in the Evil Penguin family of music labels, but its name may be misleading. You see, we are artist-minded rather than repertoire-centred. Most labels are out there to acquire a standard catalogue of (some type or era of) art music, but we focus on the persons behind the record. We’re in this business to bring you the sounds, but we also want to show you the eff

ort, the sweat, and the passion an artist invests in getting his message across. It’s so much more than merely reproducing an existing score. That’s why we release dvd’s in addition to cd’s (often together): we like to show you the recording process, the trials, the takes, the relief when it’s a wrap. But we also like to document the larger context of the recording: the artists’ views, their past achievements, their future dreams. We want to find out what motors their music, which instruments they play, and who built them. So, our focus is on the ambiance that sparks the music, as much as on the music itself. Needless to say that we take great care in finding the most adequate and inspiring recording location for each project. We’ve recorded in historical ballrooms, in dilapidated churches in Burgundy, in secluded chapels in the Ardennes, in grand châteaux along the Meuse. We follow our artists anywhere in search of good acoustics and great atmosphere. And we encourage them to venture beyond the basic catalogue into unexplored corners of the musical universe. We love the standard repertoire and its conventional approaches, but we’re also curious for the unknown, the experimental, the wild. We’ve released Bach and Brahms on our label, but we’re just as serious about little-known 19th century chamber music for clarinet, or unusual period instruments. Observe, finally, that we like long-term relationships. One-night stands may be fun for a while, but it’s going steady which brings depth and insight to a romance. That’s why we seek to sign exceptional talents at the start of their carreer, when they’ve got their whole life in front of them for us to record. But we also document the adventures of superstars at the height of their fame, especially when these involve special projects on unique locations.

A beautiful review for Dionysos NOW by Manuel de Lara Ruiz in Scherzo Magazine: "Together, they produce a magnificent, r...
02/06/2026

A beautiful review for Dionysos NOW by Manuel de Lara Ruiz in Scherzo Magazine: "Together, they produce a magnificent, resonant sound, rich in texture, with a delicate interplay full of detail and intensity that does justice to Willaert’s beautiful music."

Dionysos NOW! releases 𝗟𝗶𝘃𝗲 𝟰! Focussing on the work of Jacquet de Mantua (1483-1559), after the previous mass on 𝘓𝘪𝘷𝘦 3...
15/05/2026

Dionysos NOW! releases 𝗟𝗶𝘃𝗲 𝟰! Focussing on the work of Jacquet de Mantua (1483-1559), after the previous mass on 𝘓𝘪𝘷𝘦 3, now follows a selection of motets and madrigals, includeing 𝘔𝘪𝘳𝘢𝘣𝘪𝘭𝘦 𝘮𝘺𝘴𝘵𝘦𝘳𝘪𝘶𝘮 and 𝘚𝘦 𝘧𝘰𝘴𝘵𝘦 𝘷𝘰𝘪. Check out the album here 👇

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Earlier this month, Ivan Moshchuk released his album 𝘈𝘭𝘭𝘢 𝘙𝘦𝘮𝘪𝘯𝘪𝘴𝘤𝘦𝘯𝘻𝘢. Now, the first reviews are dripping in. Here is ...
29/04/2026

Earlier this month, Ivan Moshchuk released his album 𝘈𝘭𝘭𝘢 𝘙𝘦𝘮𝘪𝘯𝘪𝘴𝘤𝘦𝘯𝘻𝘢. Now, the first reviews are dripping in. Here is a beautiful one by Andrés Navarro in Ritmo Magazine:

🇬🇧 “Moshchuk finds just the right tone and rubato to convey the introspective, intimate and poetic character so characteristic of this composer in the Sonata “Reminiscenza”, the “Canzona serenata” and “Alla Reminiscenza”. In Rachmaninov’s Étude-Tableaux Op. 39, despite the density of the texture, Moshchuk stands out for the precision and clarity of articulation in Études Nos. 3 and 6 and the emotional depth in Nos. 1, 5 and 9, where he balances technical demands with great expressiveness. [...] Moshchuk presents an interesting, perfectly cohesive album which, without establishing hierarchies, respects the idiosyncrasies of each composer through a programme that is intelligently chosen and presented.”

🇪🇸 “Moshchuk encuentra el sonido y el rubato precisos para transmitir el carácter introspectivo, íntimo y poético, propios de este autor, en la Sonata Reminiscenza, en la Canzona serenata y en Alla Reminiscenza. En los Étude-Tableaux Op. 39 de Rachmaninov, pese a la densidad de la textura, Moshchuk destaca por la precisión y claridad de la articulación en los estudios ns. 3 y 6 y la profundidad emocional en los ns. 1, 5 y 9, donde equilibra la exigencia técnica con una gran expresividad. [...] Moshchuk presenta un interesante disco perfectamente cohesionado que, sin jerarquías, respeta la idiosincrasia de cada compositor con un programa inteligentemente escogido y presentado.”

🎧 orcd.co/ivan-moshchuk-alla-reminiscenza

Recorded at Het Predikheren - Bibliotheek Mechelen
Recording, mixing & mastering: Steven Maes for Motormusic Recording Studios
Musical director & editing: Felicia Bockstael
Assistant engineer: Tijs Wylin

Pictures: Koen Broos
Graphic design: Luci Aghi Elmi

Proud to announce that TrioFenix received a nomination for Preis der deutschen Schallplattenkritik!!
07/04/2026

Proud to announce that TrioFenix received a nomination for Preis der deutschen Schallplattenkritik!!

01/04/2026
On Boccherini 2, Roger-Claude Travers in Diapason concludes: “The Karski Quartet, in perfect harmony with Raphaël Feye’s...
31/03/2026

On Boccherini 2, Roger-Claude Travers in Diapason concludes: “The Karski Quartet, in perfect harmony with Raphaël Feye’s cello, has grasped this perfectly.”
🎧 Listen here 👉 orcd.co/karski-feye-boccherini-2

𝐍𝐨𝐭𝐞 𝐨𝐧 𝐋𝐞𝐚𝐯𝐢𝐧𝐠 (𝐀𝐩𝐫𝐢𝐥)Last night you slept so deep it scared me. A hulking kindof lying still I couldn’t bear, heavy an...
28/03/2026

𝐍𝐨𝐭𝐞 𝐨𝐧 𝐋𝐞𝐚𝐯𝐢𝐧𝐠 (𝐀𝐩𝐫𝐢𝐥)

Last night you slept so deep it scared me. A hulking kind
of lying still I couldn’t bear, heavy and shameless.
Light tingled through my fingers.

So I got up. I washed and dried the glasses, restocked
the wine, deleted texts on your phone,
wiped my imprint from your skin.

See me as a layer of paint, extremely thin, even shadow
can paint over it. We had it wrong and even
if you wake up soon, l***y and restless,
with a wild, expansive look – too late.

Convergence is an act of taking root. Now I need to be
glancing light on scrap wood, plastic-bag nests
in the canal, empty bottles, gently rinsing
winter-hardy plants, cradling underground.

Your motionless last night – it’s not for me.
The streets I have to walk until the desolation
ends, the beds, the rustling shrubs,
dance steps off the doorstep, crazies
singing under your window,

so much to turn, awaken, cover.

𝘌𝘴𝘵𝘦𝘳 𝘕𝘢𝘰𝘮𝘪 𝘗𝘦𝘳𝘲𝘶𝘪𝘯
𝘛𝘳𝘢𝘯𝘴𝘭𝘢𝘵𝘦𝘥 𝘣𝘺 𝘋𝘢𝘷𝘪𝘥 𝘊𝘰𝘭𝘮𝘦𝘳

🎧 orcd.co/the-seasons-april
Marie François, piano
Koen De Bouw, narration
Juliane Nolls, illustrations

Adres

Kanunnik De Deckerstraat 22
Mechelen
2800

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