The first in a series of three double-CD sets of previously unreleased and rare Beatles material, released in conjunction with the mammoth Anthology video documentary. This covers the late '50s to the end of 1964, mixing studio outtakes, live performances, primitive recordings from the Quarrymen/Silver Beatles days, excerpts from the famous 1962 Decca audition, the most notable 1961 Tony Sheridan-era recordings, and brief spoken bits from interviews.

Shimmering timbres, vibrant rhythms and colourful harmonies complement ragas from the Indian subcontinent. Walter Kaufmann fled Nazi Germany in 1934 to research Indian classical music and combined these influences with Western traditions in his compositions. The Regensburg Philharmonic Orchestra under the baton of Stefan Veselka present four works from Kaufmann's most productive creative phase during his time in exile, taking the listener on a voyage through the region's fascinating musical landscape.

The World Is a Beautiful Place & I Am No Longer Afraid to Die return with Dreams of Being Dust, an album that finds the Connecticut-formed collective plumbing the depths of emotional ruin and emerging with their most scorched, unrelenting work yet.

KAMAND is an exploration of acculturation, the delicate and often dissonant process of merging into a host culture while honouring ancestral roots.

The R&B star and multi-hyphenate Teyana Taylor returns with her first album in five years, Escape Room.

I probably could have had a much more successful solo career if I had been more predictable. In general, I stayed away from being pigeonholed or categorized. My last few releases have come down on the classical side with string quartets (ACME) and orchestras (Czech National Symphony Orchestra, Budapest Symphony Orchestra) playing mostly written music while I jam along with them on violin or piano. I have done a couple of string trio recordings with Caleb Burhans and Clarice Jensen where all three of us improvised freely together.

On Live at Smalls, the 52-year-old Ries leads an acoustic quintet and splits time between tenor and soprano saxophones. He’s put himself in closer contact with the jazz tradition, but still treats the genre as a tool rather than a domain. The first three tracks are Ries originals, ranging from swinging postbop (“A Summer to Remember”) to straight-eighths progressivism (“The Last Kabbalist of Lisbon”) to Metheny-esque folk resplendency (“New View”). The remaining two tracks are rooted in Western classical: a Ries arrangement of Franz Schubert’s lieder masterwork, “Death and the Maiden,” and a fleeting solo piano finale by Kalman Olah, “Prelude to Bach Cello Suite.”

Renowned songwriter, musician, artist and best-selling author Josh Ritter releases his new album “I Believe In You, My Honeydew”. The new record features ten new tracks produced by Sam Kassirer and features Ritter alongside his Royal City Band: Kassirer (piano, organ, synthesizer, accordion), Zachariah Hickman (acoustic and electric bass, thumb piano, mandolin), Rich Hinman (guitars, pedal steel, mandolin) and Ray Rizzo (drums, percussion).

On their debut release, Foster shifts fluidly between tongue slaps, overblown tones, and powerful tenor saxophone screams, while Crawford alternates between non-idiomatic splatter, frenzied banjo maneuvers, and dense, elusive bursts of tangled noise. Meanwhile, Sullivan crafts a metallic clatter that establishes its own expansive sonic territory.

Texas Headhunters is what happens when three of Texas’ fiercest guitar slingers – Ian Moore, Johnny Moeller, and Jesse Dayton – finally collide on the same stage. Born from deep roots, old friendships, and a shared reverence for the swaggering soul of Texas blues, this is not your average jam. It’s a movement. A reckoning. A new chapter in the book of American roots music.

Tenor Haitham Haidar’s debut solo album Zaytoun (meaning ‘Olive’ in Arabic) is a captivating collection of beautiful Baroque and Arabic songs, interlaced with poetry and musical improvisations, an exploration of the intersection between Baroque and Arabic music. Whether it be through instrumentation, ornamentation, or vocal production, Zaytoun highlights the natural connections between what we generally view as separate worlds.

So far, the career of the Czech pianist Jan Schulmeister has been distinguished by victories at dozens of international competitions (including the 2019 Cesar Franck Piano Competition in Belgium, the 2021 North International Music Competition in Sweden, and the 2022 Manhattan International Competition in the USA), to which he added Third Prize at the prestigious Cliburn Junior Competition (Dallas, USA) in 2023 at 17 years of age. For his Supraphon debut, he has chosen works of the late 19th century by Russian composers, music that is firmly grounded in the national tradition but that often seeks out and remains open to stimuli from the surrounding world.

Back in 2005, Seattle quintet Minus the Bear were riding the wave of a swift upward trajectory with their blend of ‘90s mathrock fretboard savvy, early ‘00s electro-indie textural depth, and the wistful melodicism of the more mature strain of Midwest emo. So it was an interesting time for the band to undergo a stylistic sea change. Looking beyond their fellow guitar slingers, Minus the Bear instead found inspiration in the more adventurous pop producers of the era and went full steam ahead with a revamped sound of glitchy guitar loops, modern R&B rhythms, and swirling electronic tapestries on their 2005 sophomore album Menos el Oso.

Ahmed Mukhtar on oud and Ignacio Lusardi Monteverde on flamenco guitar explore the entwined musical traditions of their two cultures - The compositions unfold as an elegant dialogue between the two instruments, weaving intricate melodies and rhythmic subtleties that echo centuries of cultural exchange - Through Al-hambra, they create a space where the voices of the oud and guitar converse as equals, bridging time and tradition with a grace that feels both timeless and innovative.

The clarinet is one of the instruments with the broadest spectrum of sonic possibilities in terms of its range of dynamics and pitches. It received the greatest attention during the era of Classicism both in solo parts in concertos and in the roles of a chamber music partner and an orchestral instrument. It had to wait until the 20th century for works featuring its unaccompanied solo voice in its full range of colours.