On Universal Mother, Sinéad O'Connor tells us more about herself than we probably should know. It's record making as therapy, the byproduct of feelings still only half worked out, a bundle of self-revelations left suspended, twisting in the wind. It wobbles between being an awful record and a remarkable one, and maybe that's why it works: It swings so wildly that it never sinks into that deathly muddy middle ground.

Jeremy Denk is joined by The Saint Paul Chamber Orchestra for two Mozart concertos—No. 25 in C Major, K. 503 and No. 20 in D minor, K. 466—bookending the composer’s solo Rondo in A minor, K. 511.

Roxane Elfasci from Paris uploaded in 2016 her take on the classical composer Claud Debussy's biggest hit Clair de Lune. 5 years later the video have amassed 7M views and the comments from fans all over the world have been overwhelming. The channel is constantly increasing with followers. Roxane is a professional musician in classical guitar and has studied at schools such as the Aulnay-sous-Bois Conservatory and the Pôle Supérieur de Paris. In addition, she also has a degree in musicology from the Sorbonne University in Paris. At last Clair de Lune was released on DSPs early May and the track has already amassed over 500k streams. We can now look forward to an album, where Roxane continue to interpret Debussy’s music.

Pasquale Plays Duke, is the second of a three-part trilogy which follows the early 2021 digital release of Solo Ballads. For this particular album he introduces his working trio of bassist Ari Roland and drummer Keith Balla, and is joined by special guest vocalists Samara Joy and Sheila Jordan.

Night Moves was in the pipeline when Live Bullet hit, and wound up eclipsing the double live set anyway, so Stranger in Town is really the record where Bob Seger started grasping the changes that happened when he became a star. It happened when he was old enough to have already formed his character…

With his critically acclaimed AVIE Records releases of music by Johann Sebastian Bach, Johannes Brahms, Gabriel Fauré and Sergei Rachmaninov to his credit, the celebrated British pianist Charles Owen scales the heights of Franz Liszt’s anthology Années de pèlerinage, Première année: Suisse (“Years of Travel, First Year: Switzerland”), which evokes the great 19th-century pianist-composer’s Swiss sojourns with aural impressions of the Alpine landscape, its peaks and valleys, mountains and streams, and the country’s distinctive folk music. Literary references abound as they do in the album’s concluding piece, the emotional Bénédiction de Dieu dans la solitude (“The Blessing of God in Solitude”) which was inspired by a poem penned by Liszt’s friend Alphonse de Lamartine. Emotions ran equally high for Charles Owen who turned to Liszt during lockdown. The uncertainty of being homebound throughout the pandemic was eased by the extra meaning and solace of the composer’s evocations of journeying, experiencing the natural world and its sense of beauty and liberation.

Kicking off with the wickedly salacious "Burlesque," Bandstand was the best of the late Family recordings. For a band that for the most part eschewed riffs and hooks, both are in plentiful supply here. More important, by the time of Bandstand's release, Family had reconciled the war between their art-rock and hard rock tendencies; that is to say, there is more of the latter and less of the former. So, the record doesn't have the internal stress of their earlier releases, but what it does have is Chapman shouting like he could take on the world and Whitney playing like he must have when he formed the Farinas in 1962. A corker from the word go.

In his opening remarks, Marco Blaauw admits that only latterly did he enjoy the extrovert tendencies of his instrument – and this recital “shows off” in exemplary fashion. Only Hanna Kulenty’s Brass No 1 is a truly abstract study: the first in a cycle of trumpet-centred pieces that puts the double-bell instrument as thoroughly and as scintillatingly through its paces as any music written from a non-jazz perspective.

An electrifying stratosphere of vibrant realms and enchanting tonalities evolves with every breath of Martin Nonstatic’s hand-crafted synthscapes. Gently progressing into a dubby waterfall of mind-massaging oscillations, Ligand is an ambient downpour of dramatic euphoria. Dark, yet soulful minimalism is engraved within the atmospheric frequencies that paint its melancholy walls, a downtempo outcry of distant, mechanical pads and dystopian melodies crawling against an auditory horizon. The experience is an emotional voyage ; it takes us on a captivating journey into a faraway dimension without ever having to leave earth. It feels like a second home, and we invite you through its welcoming doors to explore a brand new world.