Arv Garrison is relatively unknown today. His professional recording career spanned three years after the end of WWII. A majority of that legacy was with the Vivien Garry Trio. The Trio’s first recordings for Guild and Sarco demonstrated Arv’s phenomenal mastery of the electric guitar. He was on several Dial sessions led by Dizzy Gillespie, Charlie Parker, and Howard McGhee, but his presence on these recordings is sparse due to the short duration of 78 singles.

I Know I’m Funny haha is Webster’s most realized manifestation yet of this emotional and musical alchemy. Continuing to bloom from her 2019 breakthrough and Secretly Canadian debut Atlanta Millionaires Club, Webster’s sound draws as much from the lap-steel singer-songwriter pop of the 1970s and teardrop country tunes as it does from the audacious personalities of her city’s rap and R&B community.

The only complete survey available of the keyboard music written by a forward-looking contemporary of Monteverdi.

New to the catalogue, delightful chamber music by an Italian celebrity of 18th-century London.

Each one of Bohuslav Martinů’s (1890-1959) three cello sonatas belongs to a significant period or event in his life. Composed in May 1939, the first seems indelibly marked by the tension and anxiety which gripped Europe in the months before war broke out, though the composer was also going through a crisis in his personal life, having lately had an intense extramarital affair with Vítězslava Kaprálová, a young composer and conductor.

It was the wish of thousands of fans, challenging Andi Deris, Michael Kiske, Michael Weikath, Kai Hansen, Markus Grosskopf, Sascha Gerstner and Dani Löble during their PUMPKINS UNITED WORLD TOUR tour — and their dream came true! With this new album, simply called HELLOWEEN, the band opens a new chapter after 35 years of a glorious career. The future of one of the most influential metal bands will now include three singers. Originally planned for live performances alone, it is the birth of a unique metal alliance of seven! This Japanese Limited Edition features digi-book packaging and comes with a bonus CD with three new songs, including a exclusive bonus track "We are Real." Also includes message for fans in Japan.

Hiss Golden Messenger’s Quietly Blowing It was written and arranged by M.C. Taylor in his home studio—his 8’ × 10’ sanctuary packed floor to ceiling with books, records, and old guitars—as he watched the chaotic world spin outside his window. Between March and June 2020, Taylor wrote and recorded upwards of two dozen songs—in most cases playing all of the instruments himself—before winnowing the collection down and bringing them to the Hiss band. In July, the group of musicians, with Taylor in the production seat, went into Overdub Lane in Durham, NC, for a week, where they recorded Quietly Blowing It as an organic unit honed to a fine edge from their years together on the road.

Portland-based ambient progressive rock project Echo Us know how to get in your head and never leave. Fronted by Ethan Matthews’ the subtle flows and heightened builds ups dance through your senses and refuse to leave, in a good way. New album The Windsong Spires continues this theme but also adds in vocals from Charlotte Engler to great effect…

my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields, Deb Googe and Colm Ó Cíosóig, are widely revered as one of the most ground-breaking and influential groups of the past forty years. During an era in which guitar bands denoted, at best, a retro-classicism, not only did my bloody valentine sound unlike any of their contemporaries, the band achieved the rare feat of sounding like the future.

The Orchestre Philharmonique de Radio France and Mikko Franck continue their collaboration with Alpha and here invite one of the label’s flagship pianists, Nelson Goerner. The programme is devoted to Richard Strauss, coupling several of the German composer’s early works. The Burleske for piano and orchestra, written at the age of twenty, is brimming with lyricism and Romantic ardour; its tone colours herald Strauss’s operas, while the orchestration anticipates his symphonic poems. The piano part is exceptionally virtuosic: Hans von Bülow, for whom Strauss wrote it, called it unplayable! The Serenade for thirteen wind instruments harks back to Mozart’s Gran Partita K361 for similar forces. This brief work in a single movement begins in a nocturnal colouring, as befits a serenade, before growing more animated and finally returning to the contemplative atmosphere of the opening. The symphonic poem for large orchestra Tod und Verklärung depicts the last hour of an artist’s life: the listener is gripped from the very first bars, which evoke the breathing and heartbeats of a dying man. Strauss allows us to experience his final moments and the transfiguration of his soul in one of the most glorious moments in the symphonic repertoire.

Olga Pashchenko is one of today’s most versatile keyboard players. Equally at home on the fortepiano, the harpsichord, the organ and the modern piano, she radiates extraordinary virtuosity and passion. Her discography has hitherto enabled her to explore the music of Beethoven, her great passion, but also that of Dussek and Mendelssohn among others. A key figure was missing until now: Wolfgang Amadeus Mozart. That omission has now been repaired with this recording of his Piano Concertos nos. 9 and 17, written in 1777 and 1784. This initial collaboration with the ensemble Il Gardellino, founded more than thirty years ago by the oboist Marcel Ponseele and the flautist Jan De Winne, is scheduled to continue with other Mozart concertos in the next few years.