Tomorrow we release our festival final album of 2025, ‘Lord of the Dance’, by the choir of Norwich Cathedral under the direction Ashley Grote, with organist David Dunnett and Onyx Brass. If you’ve already listened to our advance single from this album, you’ll know that this is something special. Ashley was appointed Master of Music at Norwich Cathedral in September 2012 at the age of 30. Under his direction, Norwich Cathedral Choir has gained a reputation as one of the UK’s leading Cathedral Choirs. Alongside their core work of singing daily choral services, the choir gives regular concerts, many alongside leading period instrument ensemble Norwich Baroque, broadcasts on national radio and has made numerous recordings to critical acclaim.

Over a year since the release of their exhilarating debut Could We Be More, Kokoroko present a new collection of remixes of tracks from their first album. The record brings together a dizzying, globe-spanning array of contemporary music’s most forward-thinking artists, each bringing their own unique identity to the project while maintaining the immersive sound-world of the original. Could We Be More Remixes is due 10th November 2023 via Gilles Peterson’s Brownswood Recordings.

‘Give It Back’ is an album of newly recorded re-worked classic tracks from their impressive catalogue now featuring Gavin Harrison.

Bringing to close an unforgettable 14-date European Winter tour of their 2016 summer hit album Your Wilderness, The Pineapple Thief, led by post-progressive mastermind Bruce Soord and reinforced by Gavin Harrison (King Crimson) on drums with Darran Charles (Godsticks) on guitar, gave the sold-out Islington Assembly Hall in London a truly awe-inspiring gig on 11th February 2017. Where We Stood showcases a powerful performance from both band regulars and guests on new tracks from Your Wilderness, including “In Exile“, “No Man’s Land” and “The Final Thing On My Mind“, and of the classics from previous albums, “Nothing At Best“, “Show A Little Love” and “Simple As That“.

Carlos García Montoya born in Madrid, Spain, was a prominent flamenco guitarist and a founder of the modern-day popular flamenco style of music.

Kazumi Watanabe is the indisputable #1 guitarist in Japan, voted Best Guitarist in Swing Journal magazine a mere 31 years in a row! Although jazz is his preferred modus operandi Watanabe has also collaborated with Japanese legends like Ryuichi Sakamoto, Sadao Watanabe and the Yellow Magic Orchestra, bringing huge success at home and international recognition that led to him playing alongside Steps, the Brecker Brothers, Jaco Pastorius and Bill Bruford. This trio album, on which Watanabe plays electric guitar and guitar synthesiser, was originally released in Japan in 2011, but now for the very first time in HighResAudio.

The guitarist and lute player Julian Bream and the tenor Sir Peter Pears often performed together in the 1950s and 1960s. In 1958, the two artists performed the song cycle "Six Songs from the Cinese" composed by Benjamin Britten in the premiere performance. This was just the first highlight of a long-term collaboration that was to follow. This cycle is included on this release, as are numerous instrumental and vocal pieces spanning a thrilling musiucal arc from the Baroque era up to the 20th century. A unique musical spectrum is thus united on this album.

The second half of an epic recording session Mississippi John Hurt cut for the Library of Congress on July 15th-23rd, 1963 (the first half is available on D.C. BLUES–THE LIBRARY OF CONGRESS RECORDINGS VOL. 1), VOL. 2 reveals all the delights of this legendary bluesman. Though his most essential recordings were waxed in the late '20s for OKeh, Hurt's complex, fleet fingerpicking style and gentle, conversational singing were little diminished when the artist was "rediscovered" during the folk and blues revival of the '60s. Over two discs and 37 tracks, Hurt delivers versions of some of his best-known songs ("Nobody's Dirty Business," Stackolee"), spirituals ("Will the Circle Be Unbroken"), and popular songs ("You Are My Sunshine"). Hurt's soothing, pleasant style of rural blues wears particularly well here; VOL. 2 makes an excellent companion to the first Library of Congress set, and would make a fine addition to any blues collection.

Mississippi John Hurt was easily the most accessible of all the 1920s bluesmen rediscovered still alive and in playing condition in the early 1960s. His easy, gentle singing voice and deft guitar picking abilities were still intact and undiminished, and where some of his hard-living contemporaries suffered from alcoholism, Alzheimer's, or just plain crankiness when they emerged into the bright lights of the folk- and- blues- revivals, Hurt projected a calm, unaffected professionalism. The recordings on this two-disc set were made for the Library of Congress Archive of American Folk Song during two sessions on July 15 and 23, 1963.

Stop Making Sense is returning to theaters later this year, and now, the Talking Heads concert film is getting a shiny new soundtrack to go along with it. Rhino is issuing an updated deluxe edition on August 18th, complete with the film’s full setlist as well as two previously unreleased songs.

“ABBEY ROAD’S world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

Soundway presents a remastering of the 1976 album ‘Ifetayo’ by Black Truth Rhythm Band, with the addition of the single ‘Imo’ included on the 1LP.

Kasra Faridi delved into a composition that emerged from months of immersive research into the sound of recursive functions, a deeply mathematical endeavor. Faridi delved into programming using C and Csound languages, crafting a sonic landscape that intertwines the realms of mathematics and music. As a pianist immersed in the classical repertoire, Kasra encounters counterpoint daily, with the works of Bach serving as a constant source of inspiration. Reflecting on the origins of musical expression, Faridi draw parallels between the concept of counterpoint and the primal echoes of sound reverberating within a cave, evoking a sense of ancient musical discovery. The use of the recorder, the oldest known instrument dating back 24,000 years, further enriches the sonic narrative, with its delayed and evolving sounds mirroring the gradual evolution of human understanding and civilization.

Mr. Counterpoint. This album took its title from a club in West Orange, N.J., called Counterpoint. The club was owned by pianist John Gamba, making him one of the few jazz musicians to become a club owner. A skilled technician, the pianist managed to infuse his performances with a good deal of unexpected fire. Indeed, there were moments on “Words,” “Yesterdays,” and “Leaves” that sharply suggested the legendary Eddie Costa. Gamba had the strong percussive approach to his instrument that was a hallmark of Costa and displayed a similar concept of time.

“Dark Christmas” is the highly anticipated second volume of Tarja’s 2017 album "From Spirits and Ghosts (Score for a Dark Christmas)" – a surprise hit and on-going strong seller. This time, Tarja has added a haunting twist to classic Christmas hits and carols with the addition of a children's choir. For those who want to embrace the holiday spirit while exploring a more mysterious side of the season, Dark Christmas is the perfect album.