After almost two decades of hibernation under the ambient waves and dub currents of the Sargasso Sea, LSD announces the next installment of the seminal ‘Auntie Aubrey's' series, an Orb Remix Project. This 2 x CD compilation is a veritable smorgasbord of classic, new and unreleased labour-of-love remixes that span three decades yet still transcend space and time.

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Diana Ross sings "Thank You" to the world. "This collection of songs is my gift to you with appreciation and love. I am eternally grateful that I had the opportunity to record this glorious music at this time," said Ms. Ross.

There were intermittent soundtrack and score contributions of varying magnitudes, as well as a couple other low-key projects, but The Drift is Scott Walker's proper follow-up to 1995's Tilt, an album that also happened to trail its predecessor by 11 years. If 1984's Climate of Hunter put the MOR in morose, Tilt avoided the road completely and went straight toward the fractured, fraught images inside Walker's nightmares. It was entirely removed from anything that could've been classified as contemporary. The Drift isn't an equally severe leap from Tilt, but it is darker, less arranged, alternately more and less dense, and ultimately more frightening. Maybe it'll make your body temperature drop a few degrees. Working with what Walker has referred to as "blocks of sound," only a few of the album's 68 minutes have any connection to rock music, and many of those minutes are part of a harrowing 9/11 song that also obliquely references "Jailhouse Rock" as Elvis Presley cries out ("I'm the only one left alive!") to his stillborn twin brother. The songs swing from hovering drones to crushing jolts.

Louisiana journeyman swamp rocker Tab Benoit has been churning out an album a year since at least 2002, and between them he stays on the road playing every festival, club, and bar that'll have him. It would seem inevitable that the quality of these studio recordings would decline. But, at least as of 2007's Power of the Pontchartrain, that isn't the case. If anything, this might be the best of a very good lot, as Benoit again teams with Louisiana's Le Roux group (who once backed legend Clarence "Gatemouth" Brown and helped on Benoit's previous release) for another 52-minute wade through muggy yet taut bayou blues. Part of the reason Benoit's recent albums are so strong is that he doesn't insist on playing original material, instead cherry-picking nuggets rearranged to suit his approach. This works particularly well here since he unearths terrific, often obscure material from writers such as Julie Miller (two tracks), David Egan (two others), and even Stephen Stills (a not entirely necessary "For What It's Worth").

2021 finds Zev Feldman teaming with the Elemental Music label, to release yet another long lost live recording by an Evans trio, Behind the Dikes - The 1969 Netherlands Recordings.
This is music that has long been available, in an underground sort of way, on bootleg recordings of sub-standard sound quality - something that is problematic in most music, unforgivable in regards to Bill Evans. That has changed with this official release. The sound is crisp and clean, showcasing the pristine and distinctive Evans touch, and the always remarkable interplay with this particular trio, with Evans joined by bassist Eddie Gomez and drummer Marty Morell.
Evans' best trio, with bassist Scott LaFaro and drummer Paul Motian - that produced the groundbreaking Sunday At the Village Vanguard (1961) and Waltz For Debby (1962)…

Igor Stravinsky (17 June 1882 – 6 April 1971) is widely considered one of the greatest and most influential composers of the 20th century. The New Stravinsky Complete Edition (30 CD box set), the most complete survey of the composer’s works ever compiled, has been released to mark the 50th anniversary of his death.