Kompakt is proud to announce, finally, a reissue of the first, self-titled GAS album. Originally released on electronica imprint Mille Plateaux back in 1996, it’s been unavailable in its original form ever since – the version of GAS included in 2008’s Nah Und Fern box featured several different tracks. Here, however, GAS is restored in all its glory, the debut full-length from Wolfgang Voigt’s most enigmatic, quixotic project.

From the first notes, the snowy steps of "Fremd bin ich eingezogen" (As a stranger I arrived), the new recording of Schubert's "Winterreise" by the GewandhausChor makes one sit up and take notice: Choirmaster Gregor Meyer has arranged one of the most paramount lieder cycles for his "instrument", the choir, and makes virtuosic use of the possibilities offered by the ensemble's polyphony and sonority.

As a cherry on top of their just launched reunion tour, multi-platinum rap metal outfit Rage Against The Machine have newly given a digital release to their 1998 effort, “Live & Rare“. That compilation was originally released in June of 1998 exclusively in Japan. It features live performances captured during the band’s touring from ranging from 1993 all the way to 2000. It also features their b-side tracks “Darkness” and “Clear The Lane“, along with live covers of N.W.A.‘s “Fuck Tha Police” and Public Enemy‘s “Black Steel In The Hour Of Chaos“, complete with a guest appearance from Chuck D.

Tigers, pigeons and festivals. There's something about him that we just can't get over. Maybe it's these incredibly funny, evil songs from our beloved Vienna. Maybe it's a small corner of his view of the world that we share. Although of course we grew up in a completely different place. Maybe he says what we wouldn't have dared to think.

One morning in 1822, Schubert wrote down an enigmatic text in which all his ghosts seem to take shape: wandering, solitude, consolation, disappointed love. Inspired by this dreamlike narrative, Raphaël Pichon, Pygmalion and Stéphane Degout have devised a vast Romantic fresco, combining resurrection of unknown treasures with rediscovery of established masterpieces.

Artists releasing multiple volumes of work over a short period of time has become more of a thing in recent years, and even when the output is consistently of the highest quality, it can be frustrating for the listener trying to gauge how a release fits within a single oeuvre, or how that oeuvre fits in within the greater artistic landscape. For sure many artists won't really care - but the fact remains that in all but the rarest of cases (and there are defo exceptions) a creative braindump makes a single body of work less memorable, more throwaway.

The career of Fefe Dobson has been an extended rollercoaster ride of chart-crashing highs and momentum-killing lapses during which entire albums have been shelved or scrapped. Work on the follow-up to 2010’s hit-stacked Joy—on which Toronto’s high priestess of pop-punk surrendered fully to the former half of that genre equation—initially commenced in 2013, resulting in a handful of teaser singles, like “Legacy” and “Celebrate,” that betrayed a similarly maximalist aesthetic.

This CD - significantly only the second CD dedicated exclusively to von Zieritz - presents a longitudinal section of her oeuvre. It begins with the Japanese Songs, written in 1919, here in the version for soprano and chamber orchestra from the 1980s. The centrepiece is Le Violon de la Mort, composed in 1953 for violin and piano and arranged for violin, piano and orchestra in 1957, as well as the trumpet double concerto of 1975, the final piece and, as it were, a satyr play.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit.

Originally released in 1976, Legalize It was Peter Tosh's debut album and, following years spent as a core member of The Wailers, announced with a bold statement his arrival as a solo artist. Although famous for its title track's celebration and promotion of the usage of marijuana, the album mixes Tosh's political stance with humor and melodic infectiousness. The album features heavyweights of Jamaican music and members of The Wailers and Peter Tosh's backing band, Word, Sound and Power.

Ornette Coleman's Atlantic debut, The Shape of Jazz to Come, was a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven't come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes.

AnnenMayKantereit is a German rock band from Cologne founded in 2011. They sing predominantly in German but sometimes also publish cover songs in English. A notable feature of the band is the distinctly rough voice of the singer Henning May.

Chrome Dreams is a collection of demos and outtakes taken from Neil Young's American Stars and Bars sessions, and although this album never had an official release, it's been made widespread through underground manufacturing.

DANCE AND SWING of the "ROARING TWENTIES" The Junge Philharmonie Köln with their conductor Volker Hartung invite you to a journey back in time to the 'Golden Twenties' and their ingenious swing music from Broadway to Berlin. They delved into the playing style and sound aesthetics of the time and they play the best hits of the swing era from the original arrangements in a unique playing style. The first half of the concert will feature a selection of racy foxtrots and tangos from the "Golden Twenties" - swing music at its best - from Broadway to Berlin…

Tenor Georg Poplutz and pianist Rudolf Lutz have joined forces to create a loving selection of varied settings of Eichendorff’s texts to music. These include — besides Robert Schumann’s Liederkreis Op. 39 — several lesser known composers as well as compositions by the pianist himself. An hour of the most gentle, artful music!