Solos inspired by classic and psychedelic rock carry the radio-ready style without abandoning the solemn murkiness of doom that serves as the album’s foundation. Drawing from the worlds of both doom and rock, Kadavar bring gothic haunts to the masses with an approach that is both drenched in forces of darkness and illuminated by rock’s vibrant history…

Tom Waits released Real Gone in October 2004. Waits' only album to date to feature absolutely no piano on any of its tracks, Waits beatboxed on the opening track, Top of the Hill , and most of the album's songs begin with Waits' vocal percussion" improvisations. A more rock-oriented effort, with less blues influence than his previous releases, Harp Magazine chose it as the finest release of the year. The Real Gone Tour played sold out locations in North America and Europe in October and November 2004, and on 21st November performed at Amsterdam s Koninklijk Theater Carré, where Tom and band put on a quite mesmerising show which included several numbers from the new album alongside a fine selection of choice cuts from previous records. Recorded for live FM Radio Broadcast, this entire show is now available for the first time on this dynamic 2CD Set.

A stunning set of soul tunes from the lovely Caroline Crawford – produced by Bohannon, and some of his best work from the time! Caroline's got a great style that moves past other club singers of the time – much more soulful and sophisticated than simple disco diva styles, drenched in a deeper soul sound that grounds the album nicely in a strong tradition of 70s soul. The production is tight, but unobtrusive – a bit like some of the best work that Barry White did with singers of a similar style.

Phantasy of Spring from violinist Carolin Widmann and pianist Simon Lepper perfectly captures the spirit of ECM. An uncompromising programme of Morton Feldman, Bernd Alois Zimmerman, Arnold Schonberg and Iannis Xenakis gets excellent notes by the composer Raiiner Peters and sleeve artwork which is flagrantly out of focus even by ECM's standards. Phantasy of Spring alone will give more musical nourishment than the entire autumn release schedules of some of the larger labels.

In his latest 10th studio album, Nathan Carter takes listeners on a musical journey through his beloved Irish Heartland. Recorded at studios in Granard, Nenagh and New York, the eighteen-track production (including one bonus song) features collaborations with legendary artists including The High Kings, Finbar Furey and Cherrish the Ladies. The album also features a stunning orchestral accompaniment from the Bulgarian Symphony Orchestra, as well as the much-loved sound of the Nathan Carter Band.

Sold Out to the Devil: A Collection of Gospel Cuts by the Rev. Scott H. Biram A new collection of Gospel singalongs, oddball hymnal tunes, and traditional religious songs from Scott H. Biram. Known as The Dirty Ol' One Man Band, Biram has a deceiving penchant for songs about God, religion, and spirituality. Each of his releases has some representation of religious fervor and appreciation for traditional Gospel music - just in some cases, Biram spins them in a perverse, hellbound way that only he can. Sold Out to the Devil is a collection of this particular God-fearing side of Biram.

Before Robbie van Leeuwen formed Shocking Pink in 1967 (and before he composed the worldwide hit "Venus") he had been a member of the well-known 60's Dutch rock band The Motions While going through his attic in 2018 Robbie van came across some unique, almost forgotten and unreleased demo material recorded by The Motions back in 1967 in the legendary GTB studio in The Hague. Keyboard player PP Everts suggested the original singer Rudy Bennet that something could and should be done with these songs.

In the late ‘70’s ‘disco’ became a phenomenon. Fueled by the success of the movie ‘Saturday Night Fever’ and the impact of the dance clubs, the music not only ruled the dance-floors but also the charts across the world. ‘The Best Disco Album’…. brings together the essential tracks from the era. Appropriately we kick off with the track ‘I Feel Love’ by Donna Summer, that not only came to represent the finest in disco but also pointed the way forward to the electronic and sequenced future of dance music. As well as ‘I Feel Love’, huge crowd pleasers from Earth Wind & Fire with The Emotions, The Jacksons, Lipps Inc. and Yvonne Elliman (from the afore-mentioned ‘Saturday Night Fever’ soundtrack) feature alongside truly timeless anthems from Gloria Gaynor, Village People, Dan Hartman and Thelma Houston as well as huge hits from Rose Royce, Odyssey and A Taste Of Honey. Established artists enjoyed some of their biggest success with disco tracks namely Diana Ross, Cher, Gladys Knight & The Pips, The Three Degrees, Marvin Gaye, Edwin Starr and even the then new-wave stars Blondie – all of whom are featured. And it wasn’t just the U.S. acts! Some of the biggest disco songs were created in Europe (including Donna Summer’s ‘I Feel Love’) and massive hits from Heatwave, Patrick Juvet, Baccara, Meco, Ottawan, Eruption and Boney M are included here. On top of that, the biggest European act of the decade are celebrated twice on this collection with ‘Voulez Vous’ and the phenomenal ‘Dancing Queen’… ABBA!

Recently, I have reviewed several CDs of works imitating Haydn. Although never reaching the large numbers of pseudo-Haydns, there arose, after Mozart’s death in 1791, a school of followers who produced symphonies, concertos, divertimentos and sonatas. Hence on this disc we have four clarinet works, three of them spuriously attributed to Mozart. The first is the Violin Concerto, K268, long regarded as doubtful, which is now presented as a clarinet concerto after a German manuscript, where it is arranged for clarinet and piano.

In 1992, Telarc unveiled a series of performances from the vault on a short-lived label punningly entitled "Telarchive," beginning with this long-delayed encore to the original releases from Paul Desmond's "Canadian" quartet. Recorded live in Toronto's Bourbon Street Jazz Club several months before the live dates released on Horizon and Artists House, it finds Desmond growing comfortable with his new Toronto friends but not quite settled into their laid-back ways quite yet. There are passages in this session where Desmond sounds a bit uncharacteristically scattered and unfocused, where guitarist Ed Bickert becomes the more fluid and stable solo partner, and bassist (and engineer) Don Thompson takes a lengthy solo on every track…

The music throughout this set, which consists of Dino Saluzzi originals, is quite charming. The combination of Saluzzi's bandoneon, acoustic guitarist Jose Maria Saluzzi, and bassist Palle Danielsson works quite well, and both the arranged and improvised ensembles are melodic. Some of the music consists of modern tangos and there are also ballads and more jazz-oriented pieces. The mood is sometimes wistful and nostalgic, but it is not derivative of the past. A delightful set.

This album is a superb recording of Haydn's oratorio The Creation conducted by Antal Dorati and featuring the incredible voices of bass Kurt Moll and soprano Lucia Popp. There is another recording I like, an obscure recording with Roland Bader conducting the Cracow National Philharmonic and the voices of soprano Teresa Seidl, tenor Christian Elsner and baritone Michael Volle. This recording is the best and the singers are divine and it's too bad it's not really well known or circulated. But this recording is dynamic and powerful and beautiful. It would be my second choice of favorite.

"The performances are sympathetic and effortlessly capture the spirit of Haydn's music. . . . Orchestral ensemble is crisp and Simon Standage chooses effective tempos to bring out the nuances in the music . . . it would be hard to envisage performances more lovingly crafted. . . . The release is a rewarding one and some of the music may well be unfamiliar to enthusiasts. A pleasing recorded sound, engaging music and affectionate performances make the issue an attractive one."

Argentinean composer and bandoneon master Dino Saluzzi's group includes many family members including Josй Maria Saluzzi on guitars, Felix "Cuchara" Saluzzi playing saxophones and clarinet, and Matias Saluzzi is featured on acoustic and electric bass, with the great Italian drummer U.T. Ghandi on hand for this session recorded at home in Buenos Aires. Juan Condori is Saluzzi at his most relaxed and instinctive. This music is deeply embedded in the folk traditions of the region, as well as the tango and the ballroom music of the country, both rural and urban in an era long gone. The title of the set refers to an old childhood friend from an indigenous family who Saluzzi refers to as "an almost magical figure."

The film highlights the two sides of Frida Kahlo’s spirit: on one side the revolutionary, pioneering artist of contemporary feminism and on the other, the human being, victim of her tortured body and a tormented relationship.
With Asia Argento as narrator, the two faces of the artist will be revealed, by pursuing a common thread consisting of Frida’s own words: letters, diaries and private confessions. The film alternates interviews, with original documents, captivating reconstructions and Frida Kahlo’s own paintings, kept in some of the most amazing museums in Mexico.