This wonderful 2024 Symphonic Prog album from KARFAFGEN continues the story of the highly acclaimed 'Messages From Afar: First Contact' album!

Zio Crocifisso is an Italian avant-prog band. The character we portray (taken from Verga's novel "I Malavoglia") represents the expression "there's none so deaf as those who will not hear". We are inspired by bands such as King Crimson, Poil, Melvins, Tool, Zu and Sleepytime Gorilla Museum. This album is the result of the merging of three different approaches to music. Rather than finding a common ground, we tried to merge our ideas to find different and hopefully interesting solutions. Hope you enjoy what we did.

Zara Aleksandrovna Dolukhanova was a Soviet Armenian mezzo-soprano who achieved fame performing on many lauded radio broadcasts of operas and works from the concert repertoire during the 1940s through the 1960s. Although considered one of Soviet-era Russia's most accomplished opera singers, Dolukhanova made only a relatively small number of appearances on the actual opera stage and her fame rests primarily in her extensive work for radio and performances on the concert stage.

On Gateway, Erik Wøllo presents the kind of travelog predicted by Joe Meek with I Hear a New World, a soundtrack of a visit to an alien world. The roots of the release are more readily placed in late-'70s space rock and '80s new age, though, and while Gateway is an enjoyable listen, it's not very inspiring in feeling like a new launching point for both sound and style.

Toto have announced that they’ll release a new live package next month. It’s titled 40 Tours Around The Sun and will arrive on DVD, Blu-ray, DVD/2CD, Blu-ray/2CD, 3LP, 2CD and on digital and streaming platforms on March 22 via Eagle Rock. The performance was captured in front of 18,000 Toto fans at Amsterdam’s Ziggo Dome in March 2018 as the band toured in celebration of their 40th anniversary.

“Polymetric Spells” is Wabjie's cross-genre exploration between connection and transformation. From the ethereal journey of “Whoosh” to the contemplative essence of “Spell to Go”, the album invites listeners to embrace the magic of life's complexities. An enchanting interplay of sounds and ideas that redefine the boundaries of modern creative music, captivating experience of whimsical and cyclical dimensions of life. Unpredictable yet repetitive, a little French surprise awaits the listener on this second album.

“The most principall and chiefest kind of musicke which is made without a dittie is the fantasia, that is, when a musician taketh a point at his pleasure, and wresteth and turneth it as he list, making either much or little of it according as shall seeme best in his own conceit. In this may more art be showne then in any other musicke, because the composer is tide to nothing but that he may adde, deminish, and alter at his pleasure. And this kind will beare any allowances whatsoeuer tolerable in other musicke, except changing the ayre & leaving the key, which in fantasie may neuer be suffered. Other things you may use at your pleasure, as bindings with discordes, quicke motions, slow motions, proportions, and what you list. Likewise, this kind of musick is with them who practise instruments of part in greatest use, but for voices it is but sildome used.”

This quartet is characterized by its unique line-up of four very individual musicians who admire the respective artistic attitudes and approaches of their ensemble colleagues and place mutual listening at the center of their work. Conventional role allocations are abolished. Tasks are taken on alternately by different ensemble members. The music borrows from various styles, but never remains fixed in them, instead constantly expanding – from the familiar to the unknown, from density to transparency, from point to surface…

1611, an emblematic date in the history of the lute repertoire: in fact, in this year, Giovanni Girolamo Kapsberger's Primo libro d'intavolatura di Lauto and Robert Ballard's Premier livre de luth came out in print. Kapsberger as well as Ballard, could justifiably be regarded as the offspring initiators of a more modern form of Suite, if we consider the pre-existing Renaissance forms, namely Pavana - Saltarello - Piva or Pavana - Saltarello of the early composer-lyricists as the earliest precursors of the genre. In the above-mentioned tablatures, one constantly finds an improvisational form (Toccata in Kapsberger, Entrée de Luth in Ballard) coupled with two dance forms: Gagliarda and Corrente in Kapsberger, Ballet, Courante and una sola Volte in Ballard.

The title of the album is a combination of French and Italian and can be translated into Japanese as "The Gentle 20th Century. All of the pieces were composed in the 20th century and were selected from Caruso's personal favorites. The works are not avant-garde music, but are full of Italian songs, and all of them are fine pieces that elaborate on contemporary compositional techniques. Many world premiere recordings are also included, making this a disc that can be enjoyed for its planning and recording quality. Vincenzo Caruso studied piano, choral conducting, and composition at the Naples Conservatory. He has served as choral conductor at the Opera di San Carlo in Naples, where he has worked with Riccardo Muti, Zubin Mehta, Fabio Luisi, Juraj Valčuha, Nello Santi, Daniele Gatti, Dan Ettinger, and others. He is active as a choral conductor and choral pianist, but is also very active as a soloist and with artists of other genres.

La band che ha fatto scuola nel prog rock, stimata nel mondo, torna con un lavoro che è l’ideale completamento di una trilogia dedicata all’esistenza umana. Così come in “Transiberiana” (2019) veniva rappresentata la metafora del viaggio della vita, e in “Orlando: le forme dell’amore” (2022) si celebrava il sentimento umano più potente, in “Storie invisibili” il particolare diventa universale e contemporaneo attraverso il racconto di personaggi comuni che rappresentano tutti noi e costituiscono la storia vera dell’umanità.

This recording explores the late-Romantic flute repertoire through works by two Swiss composers: Joseph Lauber (1864–1952) and Othmar Schoeck (1886–1957). Lauber, born in Ruswil and trained in Zurich, Munich, and Paris, combined the influences of German Romanticism and French Impressionism, while remaining faithful to tonal music. A professor and conductor in Geneva, he composed several works for flute inspired by his friend, amateur flutist Paul Hagemann, known for his technical skill.

OMNI, comes from the Latin word omnis, meaning "all" or "universal." This perfectly reflects the spirit of the record—bringing together incredible guest musicians, blending genres, and creating a limitless musical experience.

To a session in the summer of 2019, Kalle brought a guitar arrangement of Witold Lutoslawski's "Melodie Ludowe" (Folk Melodies). Lutoslawski, one of the greatest European composers of the 20th century, wrote these songs shortly after World War II as "functional music" to support his family.

plop* – composers and musicians burst their social bubbles. Knowledge and experiences are exchanged, previously thought impossible collaborations emerge. Styles dissolve, authorship is collectivized, and the soul of the community remains.