Originally released in 1979, this album of Hillage's self-styled "elektric gypsy musick" was spread across two vinyl discs; when subsequently reissued during the digital era the guitarist/singer's cosmic space rock set - including a version of George Harrison's "It's All Too Much" - fit onto a single CD.
The album was recorded at the peak of Hillage's popularity (although peak might be too strong a word!) at a variety of gigs during 1977 and 1978, in and around the London (UK) area. The songs are primarily taken from Hillage's first album "Fish rising", "L" (which appears virtually in full) and "Motivation radio".

To say that the past decade has been kind to Amorphis would be an understatement. From the elegance of Silent Waters to the pomp of Circle, the Finnish prog metallers have carved a solid foothold for themselves over the course of eight years. So, of course, when a new album is released, the inevitable question of whether or not the flavor has gone bland comes up. Sure enough, Under the Red Cloud proves to be another worthy addition to Amorphis’s discography, as well as one of the best progressive metal releases this year so far.

Electronic music maestro Paul Ellis continues his lifelong exploration into the aesthetics of minimalism, ambient, space music, and the classic sequencer-driven Berlin School sound, on his third Spotted Peccary Music release, Moth In Flames. The veteran artist meticulously crafts restrained pulsing electronics that provide the measured momentum to steadily move through a morphing soundscape of classic analog synth moods and atmospheric textures, on his most refined work to date.
Like a perfectly placed pendulum, the music of Moth In Flames steadily moves through the blurred boundary where melodic and ambient music overlap, pulling from both worlds while never straying too far into either…

Blur dissolved slowly so it follows that their reunion was protracted – a halting reconvening that produced understated singles and excellent concerts spread out over a period of six years. Finding a headlining appearance at Japan's Tokyo Rocks festival canceled in the summer of 2013, the band holed up in a Hong Kong studio for five days, producing several reels of jams they abandoned until guitarist Graham Coxon decided to shape them into songs with the assistance of producer Stephen Street, the collaborator behind their greatest albums of the '90s. It's an unwieldy history for The Magic Whip, a record that's casually confident and so assured in its attack it feels like a continuation, not a comeback.

The seventh album from Israeli-born saxophonist and clarinetist Anat Cohen, 2015's Luminosa showcases the N.Y.C.-based artist's eclectic mix of acoustic post-bop and Brazilian choro-influenced jazz. The album follows up her similarly inclined 2012 effort, Claroscuro, and provides a further showcase for her adroit improvisational skills and layered, sophisticated arrangements. Joining Cohen here is a bevy of equally gifted musicians, including keyboardist Jason Linder, bassist Joe Martin, and drummer Daniel Freedman. Luminosa also features a handful of guest artists including guitarist Romero Lubambo, percussionist Gilmar Gomes, and accordion player Vitor Goncalves. As with most of Cohen's recordings, Luminosa is a highly engaging, sophisticated, and romantic album.

On his sixth album for ECM the Italian pianist and his trio reflect on the work of American composer Alec Wilder (1907-1980). "I first came into a more direct contact with Alec Wilder's music in the early 90s, when I was performing his Sonata for Oboe and Piano and his Sonata for Horn and Piano", Battaglia remembers. "I had already known some of his popular songs like "While We're Young", "Blackberry Winter" and "Moon and Sand" through the intense versions Keith Jarrett has recorded. But after working on Wilder's chamber music I wanted to develop a deeper connection with his intriguing musical universe, and I've discovered an immense hidden treasure"…