The third Garcia/Grisman album, this one concentrating on the traditional 'folk' song aspect of their repertoire.

This is 'Winds Of Change', a very nice tiny new collection of tracks featuring 'Experience," "DNA," "Life," and some more.

Music has become more important than ever in recent times. As a result, the triumphant return of AMARANTHE feels particularly timely. The Swedish six-piece have spent the last decade establishing themselves as a formidable, positive and fervently melodic force for metallic good. From their explosive self-titled debut in 2011 to the more sophisticated, streamlined likes of 2014’s Massive Addictive and its immaculate follow-up Maximalism (2016), AMARANTHE have masterfully blurred the lines between melodic metal, crushing brutality, cinematic sweep and futuristic sparkle. Led by the endlessly ingenious songwriting of guitarist Olof Mörck and powerhouse vocalist Elize Ryd, their rise to prominence has been a joy to behold.

DYNAMIC EARLY 1970 BROADCAST FROM PETER GREEN & CO Fleetwood Mac s Autumn & Winter tour of 1969/1970, moved from Europe to the US on 19th November 69, and by 21st they were performing in New York at the Irving Meadows venue, supported by King Crimson. Mac went on to play several more dates in the Big Apple, including a splendid set at the Fillmore East, supporting Joe Cocker, on November 21st. The band then spent the remainder of the year performing in cities across the USA, and by New Year s Eve they were in Chicago, for a show the Kinetic Playground. By early January 1970, Messrs Green, Fleetwood, Kirwin and Spencer were on the West Coast and their first gig of the New Year took place at Bill Graham s Fillmore West on the 4th. The group played a stunning show, mixing Green and Kirwin originals with blues and rock n roll classics, and the whole concert was recorded for live FM broadcast across the city.

John Williams In Vienna’ featuring the legendary composer’s debut concert with the Vienna Philharmonic will be released in August 2020.

The first in a series of various artist compilations, alongside more in-depth artist focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient within a new setting, created often by House and Techno producers for a world beyond dance floors but made very much with the pre-clubbing and post-clubbing listener in mind.

AAM Records’ newest release features the Academy of Ancient Music joining forces with The Choir of Keble College and director Matthew Martin in a landmark recording of Francisco Vall’s ‘forgotten’ Missa Regalis [1740]. Performed from a new edition by Simon Heighes, Valls’ fascinating (and frequently confusticating) juxtaposition of ancient and ‘modern’ compositional styles provides a intriguing glimpse into the treasure-trove of Spanish baroque music, much of which remains relatively unknown to the wider world.

Huerta’s debut album for Voyage is a righteous journey along the coast of California; a psychosomatic blend of melodic rhythm, natural sounds and ambient textures.

Tibor Harsányi, a student of Zoltán Kodály at the Budapest Conservatory, lived in France from 1923 where he became one of the leading expatriate composers to form the group known as L’École de Paris. As the 4 Morceaux show, his piano music is notable for its variety of character and genre. The Piano Sonata reveals his enthusiasm for dance rhythms and for joyful lyricism as well as quietly sombre elements, while the Burlesques flirt with jazz. The Piano Suite conjures up a vivid series of atmospheres in a work that is songlike, dissonant and ambient.

The Hungarian-born composer Tibor Harsányi is now recognised as an important personality in ‘L’École de Paris’. He had a lifelong interest in modern dance, represented here by the Petite suite and Trois Pièces de danse, and he also embraced jazz, which was part of the Parisian atmosphere of the inter-war period, and other influences, while keeping the Central European rhythms and tonalities of his Hungarian origins. The Trois Pièces lyriques is a rare example of Harsányi expressing torment during the turbulent years of the Second World War.

The Austrian mezzo-soprano Klaudia Tandl, the acting legend Gabriele Jacoby and the Irish pianist Niall Kinsella present "Schubert's Women" with Schubert songs and recitations by contemporary poets with a strong connection to women and the subject "love". There are classics like Das Heidenröslein, You Don't Love Me, The Girl's Lament or Only Who Knows Longing, but also lesser known songs like Luisen's Answer, Thekla or Gretchen's Request. This is accompanied by texts by Johann Wolfgang von Goethe, Ludwig Rellstab, Friedrich Schiller, Ignaz Franz Castelli, and Friedrich Gottlieb Klopstock, which Gabriele Jacoby staged in a unique way.

Lords of Black guitarist Tony Hernando is one of the most talented and prolific musicians in the European hard rock scene today. His new solo album, under the moniker "Restless Spirits", sees Tony stepping away from the metal musical style Lords Of Black is known for and features different singers on an array of songs covering the melodic hard rock genre.

Bob Moses formed when two high-school acquaintances from Vancouver (one a rock musician, the other making trance and progressive house) happened upon each other in a New York City parking lot. Not bad for an origin story. Recorded in Los Angeles after a few years of road testing, their second album (after 2015’s Days Gone By, which yielded them a Grammy) plays like a more anthemic spin on the style of bands like Chromatics or The xx: sleek, melancholic club pop with a touch of indie rock. “You and I found our faith in the will of a lie,” Tom Howie sings on the Depeche Mode-ish “Back Down,” rising up before vanishing into the dry ice of Jimmy Vallance’s synths.

On his debut solo album "Hope Is The Sister Of Despair" under the alias Microphase, Niko Tzoukmanis clearly confesses his roots in 90s ambient techno, UK electronica as well as the techno sound of Detroit.

Albert Alan Owen was born in Wales in 1948 to Welsh and Latvian parents. His family subsequently emigrated to Zimbabwe, where his father worked as a teacher. Here, he grew up profoundly influenced by the local music and culture, as well as American RnB and jazz. It was also during this time that Owen became aware of the violent inequalities of British colonial rule, forging a lifelong commitment to socialism and a hatred of racism.