For those keeping score, Universal's 2008 Deluxe Edition of This Year's Model is the third expanded reissue of Elvis Costello's classic 1978 album. Like its 2002 predecessor from Rhino, Universal's expanded edition is a double-disc set, sharing many, but not all, of the same bonus material from that previously released package. Rhino shuffled off all the bonus tracks to a separate second disc running 12 tracks, whereas Universal adds ten tracks to the 13-track album on the first disc, then presents a full concert – recorded on February 28, 1978, at the Warner Theater in Washington, D.C. – on the second disc. Of those 12 tracks from the 2002 edition, three of them have been excised – excellent Capital Radio versions of "You Belong to Me" and "Radio, Radio" plus a BBC version of "Stranger in the House" – while "Tiny Steps," which was included on the 2002 Rhino expansion of Armed Forces, was added.

Glacier are a melodic progressive rock band based in the North East of England and have been in existence since the late 70's early 80's. All music is their own original work.
"Island In The Sky" is their third studio album.

Fragile are the original European Yes tribute project and have toured the UK & Europe in various line-ups for the past 20 years. This included live dates/tours with Steve Howe in 2005-2007 and appearances with Alan White & Rick Wakemen. Following 20 years of performing Yes music, the band are no longer performing live but now write/record original Yes inspired music. "Golden Fragments" is the first original album from Fragile.

Out of the Cradle is the third solo album by the American singer/songwriter Lindsey Buckingham. Released in 1992, it was Buckingham's first album after his much-publicised departure from Fleetwood Mac in 1987 (though Buckingham rejoined the band in the mid-1990s). The album reached #128 on the US Billboard 200 album chart, #51 on the UK Albums Chart, and #70 on the Canada Albums Chart. In Canada, three singles charted within the Top 60.

Die aufnahmetechnisch hervorragendste, die erste digitale 'Ring'-Produktion: Dynamische Expansion, Brillanz des Klangbildes, instrumentale Qualität und Präzision des Zusammenspiels sind vermutlich nicht zu übertreffen. Die Staatskapelle Dresden erweist sich etwa den Wiener und Berliner Philharmonikern bei Wagner als gleichwertig. Janowski, ein vorzüglicher Musiker, ist als Koordinator von Orchester und Sängern, als Disponent des Gesamtklanges außergewöhnlich gut. Gleiches gilt für Schreiers Loge, die auffallendste Einzelleistung.

Igor Levit’s double album “Encounter” seeks sounds that give inner strength and support for the soul. In works by Bach to Max Reger, based on poignant vocal compositions, the desire for encounters and human togetherness is given expression – at a time when isolation is the order of the day. The result is a very personal recital.

Relapse is beyond honored to present the debut album by Italy's Goblin Rebirth, the new band featuring the rhythm section from the original Goblin, Fabio Pignatelli and Agostino Marangolo! Goblin Rebirth mix the classic horror soundtrack sounds of their former band with a chillingly exciting drive that will thrill prog-heads and score-fiends alike. Goblin Rebirth is an instantly classic album that tells the tale of an imaginary film about the birth of an evil dwarf-like monster that sits confidently next to the classic Goblin scores like 'Suspiria', 'Profondo Rosso' and 'Tenebre'.

The complicated rhythm patterns and diverse sonic textures on Olé Coltrane are evidence that John Coltrane was once again charting his own course. His sheer ability as a maverick – beyond his appreciable musical skills – guides works such as this to new levels, ultimately advancing the entire art form. Historically, it's worth noting that recording had already commenced two days prior to this session on Africa/Brass, Coltrane's debut for the burgeoning Impulse! label. The two sets complement each other, suggesting a shift in the larger scheme of Coltrane's musical motifs. The assembled musicians worked within a basic quartet setting, featuring Coltrane on soprano and tenor sax, McCoy Tyner on piano, and Elvin Jones on drums, with double-bass chores held down by Art Davis and Reggie Workman. Added to that are significant contributions and interactions with trumpeter Freddie Hubbard and Eric Dolphy on flute and alto sax (although Dolphy's contract with another record label prevented him from being properly credited on initial pressings of the album). The title track is striking in its resemblance to the Spanish influence heard on Miles Davis' Sketches of Spain.

The first collaboration between Stephen Philips and Numina (Jesse Sola). Titled "From Within The Abyss" this CD explores sonic territory that spotlights the dark sonic terrain that lies somewhere between these two artists. It emotionally explores the deep and dark caverns that reside in all of us. Lightness moves to dark, moves to black, moves to the hollow empty void that is the abyss. Musically it's deep ambient chill with beats, textures, and subtle grooves interspersed with quiet spaces that runs the gambit of emotions.

Some of Janacek's most characteristic invention is to be found in the many choruses he wrote for local choirs who were moved by both a love of singing together and a demonstration of their national identity. There is a good selection here. Even the earliest, a touching little lament for a duck, has a quirkiness which saves it from sentimentality; the latest, the Nursery Rhymes, are marvellous little inventions from the dazzling evening of Janacek's life. One must resist any temptation to say that they take Stravinsky on at his own game: Janacek is his own man. In between comes a varied diet here. Schoolmaster Halfar (or Cantor Halfar) is set with a dazzling range of little musical ironies as the story unfolds of the teacher who ruined his life by insisting on speaking Czech. The Elegy on the death of his daughter Olga goes some way toward dignifying a conventional text with some heartfelt music, but the pressure of grief has not drawn the greatest of his music from him: perhaps more time was needed, and indeed the piano pieces he entitled Along an Overgrown Path re-enter ancient griefs more expressively.

Phil Collins took a long time to deliver Testify, his first record since redemptive post-divorce album Dance into the Light. On that 1996 affair, he was open to all the possibilities that may arrive during this new act and, accordingly, the album felt expansive. He dabbled with new sounds, perhaps excessively so, but it helped mirror his newfound freedom. In contrast, Testify feels a bit hemmed in, the sound of a singer/songwriter marching through the drudgery of life. This isn't to say that Testify is underpinned with despair – it certainly lacks the melancholy undertow of Both Sides, one of his moodiest and best records – but rather it feels diligent, with Collins intent on hitting all of his preordained marks.