Founded in 2016, Graceless emerged from the thriving underground death metal scene of the Netherlands, quickly establishing a fanbase across the globe. Now, in 2025, Graceless is set to release their most groundbreaking album to date: 'Icons of Ruin'. Released via Listenable Records, their fourth full length record will mark a new chapter in the band’s repertoire, pushing their sound to unprecedented heights. 'Icons of Ruin' is a bold statement, a reflection of everything Graceless has accomplished and a promise of what’s yet to come.
The album 'Icons of Ruin' blends the heaviness and brutality of their earlier work with an even deeper emotional resonance. The songs are crafted with the live setting in mind - each track is a beast made to roar in front of a headbanging crowd…

On her 19th album, Cassandra Wilson, ever the musical chameleon, changes directions once more. She is arguably the greatest living female jazz singer. Well known for her blues, soul, pop covers, and jazz standards, her smoky alto bends almost everything to its will. Wilson's phrasing is utterly unique, as original as any horn player's or pianist's music. Another Country, co-produced by Wilson and guitarist Fabrizio Sotti, was recorded in three different studios in Florence, New Orleans, and New York. She wrote all but three selections here: there are two instrumentals by Sotti and a reading of "O Sole Mio." Other players include bassist Nicola Sorato, Julien Labro on accordion, and percussionists Mino Cinelu and Lekan Babalola. Opener "Red Guitar" displays the wisdom of this small-group approach beautifully. Her vocal illustrates a mysterious, sensual jazz blues that is accented by Sotti, hand drums, and an atmospheric, unintrusive accordion…

Landed (1975). Stylistically the music on "Stranded" is very similar to the music on "Soon Over Babaluma (1974)". It´s just a bit more easily accessible. "Stranded" is still characterized by the trademark repetitive beats and both "Vernal Equinox", and the 13:20 minutes long closing track "Unfinished", feature the usual psychadelic experiments, as do the other shorter tracks, albeit in smaller doses.
Flow Motion (1976). The second of Can's three Virgin albums, 1976's Flow Motion, is a divisive record in the group's canon. It was their most commercially successful album (the opening track, "I Want More," was released as a single in the U.K. and actually charted, thanks to its smoothly percolating near-disco groove, which makes it resemble a late-period Roxy Music hit), but many fans dismiss it as the group's feint toward commercial success…

This is not only a great LP but a key piece of jazz and pop music history. Back in 1958, "Peter Gunn" was one of the unexpected hits of the new television season, capturing the imagination of millions of viewers by mixing private eye action with a jazz setting. Composer Henry Mancini was more than fluent in jazz, and his music nailed down the popularity of the series. With the main title theme, a driving, ominous, exciting piece of music to lead off the album, "The Music from Peter Gunn" became a huge hit, charting extraordinarily high for a television soundtrack and doing so well that RCA Victor came back the next year asking for a second helping ("More Music From Peter Gunn") from Mancini.

Chet Baker Sextet features tracks recorded by trumpeter Chet Baker in 1954 and 1957 for the Pacific Jazz label and released over the years on various albums, including the original Playboys date. These are stellar "West Coast"-style tracks reminiscent of the small group work Baker did with saxophonist Jerry Mulligan and featuring first class arrangements by Jack Montrose and Bob Zieff. However, the Zieff cuts feature an unusual for the period chamber-style group with French horn, bassoon, cello, bass clarinet, and bass. The result was softly angular and very modern for the time. Interestingly most of the tracks have remained largely unavailable until this collection. While there are far more influential Baker albums from the '50s, Sextet is a beautiful album and a must-hear for Baker aficionados.

After back-to-back Top Ten albums in his native U.K. with Erasure, Andy Bell delivers his first solo album in 15 years, Ten Crowns. The title was inspired by the Ten of Coins tarot card. Primarily a dance LP, there's a gospel flavor to the some of the tracks that was partly inspired by recording it in Nashville among the city's plethora of churches. He went there to work with dance hitmaker Dave Audé, who produced the album in track-by-track fashion over the course of 12 years. Other touches surrounding religious themes include the opening church organ on "Dawn of Heaven's Gate," and the musical-theater-informed "Godspell," although a closer examination of the songs reveals personal and world-weary topics like overcoming health issues, enduring liars, and a notable loss of empathy in others…

The Tedeschi Trucks Band and Leon Russell's Mad Dogs & Englishmen Revisited pays tribute to the iconic 1970 collaboration led by Joe Cocker and Leon Russell. In 2015, TTB, fronted by Derek Trucks and Susan Tedeschi, revived the historic event at LOCKN' Festival. Featuring original Mad Dogs members and guest stars like Chris Robinson and Warren Haynes, the concert combined Southern soul, blues, and rock with a 20+ musician ensemble. TTB's fresh, dynamic rendition of classics like "The Letter" and "With a Little Help from My Friends" honors the past while infusing modern energy.

There’s no sign of any let up in Neil Young’s current reissue/release productivity, with the announcement of three new albums in his ‘Official Bootleg Series’. These are Royce Hall, 1971, a solo acoustic gig which was recorded on 30 January of that year on the UCLA (University of California) campus; Dorothy Chandler Pavilion, 1971, another solo acoustic performance and the last US show of his 1971 solo tour; and, perhaps most excitingly, Citizen Kane Jr. Blues (Live at The Bottom Line), an On The Beach-heavy set from New York City, 1974.

Finally the release of Neil Young's Carnegie Hall 1970. Young has selected this concert he played at New York’s Carnegie Hall on December 4th, 1970 as the inaugural release from his Official Bootleg series. The show rounded off a seminal year for Young who had released the After The Gold Rush record just 3 months earlier in September which followed on from the Déjà Vu album he recorded as part of Crosby, Still, Nash and Young in March of the same year.

Possessing a tone as clear as a bell, perfect diction and phrasing, and no shortage of personality, Jo Stafford was one of the greatest and best- selling female singers of the pre-rock and roll era and beyond; whether it’s her early sides with the Tommy Dorsey Orchestra and The Pied Pipers or her classic solo recordings for the Capitol and Columbia labels with arranger/conductor husband Paul Weston, there is no mistaking the sound of that magnificent voice. Now, we at Real Gone Music have a very special treat for fans of this superb, yet to some degree overlooked, vocalist: a treasure trove of 24 radio performances taken from The Carnation Contented Hour, which Jo co- hosted on the Columbia Broadcasting System. These previously unreleased 1950-1951 recordings come to us from the Tony Martin estate courtesy of Michael Feinstein and with the blessing of Jo’s son Tim Weston, and are taken from original master tapes, not transcription discs; remastered by Mike Milchner at SonicVision, these are studio quality sessions and thus a major, major find in the Jo Stafford discography. It is such a treat to hear Jo interpret songs like “Dream a Little Dream of Me,” “Ain’t Misbehavin’” and “I’ve Got the World on a String” that became big hits for other artists.

This deluxe edition features the original album plus 11 bonus tracks, including three new unreleased originals; three live in-studio versions (“Colors,” “Oct 33,” “Confines”); a live version of “Know You Better” recorded at C-Boys Heart & Soul, the Austin club where the band first made a name for itself; and covers of the Beatles’ “Eleanor Rigby,” Death’s “Politicians in My Eyes,” Bobby “Blue” Bland’s “Ain’t No Love in the Heart of the City,” and Tracy Chapman’s “Fast Car.”