Recorded at Abbey Road Studios, London between June 1972 and January 1973. Limited edition crystal clear 2-LP, 180g. Featuring UV artwork printing on the non-groove side.

In this intimate, nocturnal album, Yom heads out in search of an ancestral heritage buried deep within himself. Unseen shadows shrouded by history who leave an atom of themselves in each of us, who shape us and sometimes find expression with or through us. In the company of shadows, and yet, alone… Alone in the Light follows the path of a long inner quest that explores secrets, time lost and found again. But while he may sometimes rage violently in response to storms and tragedies, Yom's clarinet opens a voluptuous path towards a tranquil light. Like the promise of a peaceful dawn…

The box set showcases the mesmerizing evolution of a band on the brink of discovery, mining irony, wit and dark humour from the madness of a distorted modern world still coming to terms with aftermath of a collapsed economy and the Vietnam war. From 1973-1977 Devo would transform from an art project, pop art in the literal sense, into the group David Bowie would declare 'the band of the future'. Here you will find the audio mutations of a band at the edge of greatness, initial concepts that gave birth to a new aesthetic that continually challenged preconceptions about music, art, performance, culture, composition and consumption.

Edith Piaf, performing her greatest songs 60 years after her passing, accompanied in London by a symphonic orchestra of 60 musicians… What could be considered science fiction has become a reality thanks to renowned musicians, arrangers, and sound engineers. They took on the challenge of creating new orchestrations capable of resonating with today's ears without compromising the nostalgia of their predecessors. By technically isolating her voice, they have allowed the refrains of yesteryears to prove that they remain as immortal as their interpreter. Edith Piaf's iconic voice was meticulously extracted from the original masters by a team of sound engineers working at the legendary Abbey Road studio in London. The album, on the other hand, was recorded at the prestigious AIR Studios, also located in London. The orchestra comprises carefully selected sixty musicians, forming the distinguished Legendis Orchestra. These musicians hail from some of the most prestigious English symphonic orchestras, including the London Symphonic Orchestra, Royal Philharmonic Orchestra, and BBC Orchestra. The tracks were brilliantly arranged by Martin Batchelar, Samuel Pegg, and Nathan Stornetta.

The rich 70s legacy of the Lovelites – a Chicago trio who first sprang onto the soul with some wonderfully fragile work when they were young, and who continued to record some really great music – even though they never fully got their due at the time! The music here was all done after the girls got their one shot at an LP on the Uni label – and the set features rare work for a variety of different labels, all issued only as 7" singles – plus a few tracks that were never released at the time. All the strength of their early vocals is still in place here, but guided by a sense of maturity that makes the music even more powerful – and which seems to indicate that the trio have already lived a lot of life in the time since their first records – all of which they bring to play in the music. Most tracks have a groovy vibe – midtempo and mellow, but with a gentle groove too – one that brings out the best in lead singer Patti Hamilton, in a set of 16 tracks that includes "My Conscience", "Love So Strong", "Got To Be There", "Oh What A Day", "Get It Off My Conscience", "My Baby Loves Me", "Bumpy Road Ahead", "Man In My Life", "Love Is Pretty", "I'm The One You Need", "Come & Get It", and "Cravin For Your Love". © 1996-2023, Dusty Groove, Inc.

XTC’s 1984 album The Big Express will be reissued as a CD+blu-ray edition with new Dolby Atmos, 5.1 and stereo mixes by Steven Wilson. This is the seventh in the ongoing series of expanded XTC reissues and as with the others it includes a wealth of audio including four album remixes by Wilson (Atmos, 5.1, stereo and instrumental), the whole album in demo form, plus extra demos and bonus tracks.

II was the album where Kingston Wall most successfully merged their hard rock, progressive, psychedelic, and Middle Eastern sounds. Much of this owes to the bandmembers' instrumental interplay, which is given freer rein and allowed to stretch out more than on their other two albums. Ranging from the soaring guitar (acoustic and electric) and violin piece "Istwan" to the Zeppelin-esque blues of "And It's All Happening" and "Shine on Me," to the high octane jamming of "Palekastro," the stylistic palette is varied. Unfortunately, this variation also accounts for the one downright bad song, "Love Tonight" (think "Do Ya Think I'm Sexy?"-era Rod Stewart or bad Scorpions). On the other hand, Donna Summer's "I Feel Love" is actually a somewhat successful merging of disco and hard rock. The reissue bonus disc is composed of "Between the Trees" and "She's So Fine," originally from the "We Cannot Move" single, plus a live track, "Can't Get Through."

Leading off with the heavy, acid guitar-drenched "With My Mind," Kingston Wall starts things off in a stirring fashion. Unfortunately, the rest of the album, while it does have its moments, doesn't quite live up to the promise of this track. The band is very tight and intense in songs such as "I'm Not the One," but the chanted "I'm not the one to blame/Not the one to blame!" makes it a little hard to take the track seriously. Similarly, the cover of Jimi Hendrix's "Fire" is sung with such over-the-top exuberance, that it makes it a little funny (assumingly unintentional). Throughout the album, though, the musicianship is stellar, as evidenced on "Nepal" (a staple of their live shows). This first album would be the band's rawest. The reissue with bonus disc includes a live show from 1991, with mostly cover songs, some expected ("Purple Haze"), some unexpected ("Call Me the Breeze," "Rocky Raccoon").

An intermittently resuscitated effigy to die-hard blasphemic German thrash metal traditions, Mainz-entrenched quartet Nocturnal were giving us the ’85-’88 witching metal experience long before the craft would become a too-public habit among also-ran revivalist thrash metal sect across the globe…

Full credit to Martin Mendez. Best known as bassist with OPETH since 1997, the Barcelona-based Uruguayan could conceivably have swerved the side-project route altogether and been content with membership in one of the most revered bands on the planet. Instead, he launched WHITE STONES with excellent debut album 2020's "Kuarahy", establishing a crystal-clear blueprint for gnarly, old-school death metal with a pronounced, and perhaps inevitable, progressive streak. The latter does, of course, lead to certain moments on "Dancing Into Oblivion" faintly echoing the early works of Mendez's alma mater, but the band's second observation is distinctive enough in its own right to briskly club those comparisons away…

The new album not only presents a methodical and premeditated next step in the band’s already imposing career, but moreover, it mirrors the personal adversities they’ve faced due to the worldwide events over the last year…

To Chi Ka is a fusion album by Kazumi Watanabe. It was recorded and mixed in March 1980 during a very prolific period for Watanabe and then released in May 1980. The album features some of the most acclaimed jazz and rock musicians; part of them will follow Watanabe in other projects, too…

This compilation of 20 classic songs includes the best of Compay Segundo, the artist that the rest of the world discovered in 1997 through teh Buena Vista Social Club project, 50 years after startin his brilliant career. Compay is definitely THE voice of cuban music thanks to such emblematics songs as “Chan Chan”, “El Cuarto de Tula”, and so many more…

This gritty vocalist gained early experience as a member of the Shadettes, a mid-60s beat group based in Dunfermline, Scotland. By 1968, the act had evolved into Nazareth, which grew from provincial origins into a leading international attraction…

Billy Joel teamed with Phil Ramone, a famed engineer who had just scored his first producing hits with Art Garfunkel's Breakaway and Paul Simon's Still Crazy After All These Years for The Stranger, his follow-up to Turnstiles. Joel still favored big, sweeping melodies, but Ramone convinced him to streamline his arrangements and clean up the production. The results aren't necessarily revelatory, since he covered so much ground on Turnstiles, but the commercialism of The Stranger is a bit of a surprise…