This is the excellent, 2025, fifth release by this long running (founded in 1999) Chilean avant-progressive leaning band who are best known for their one release on the AltrOck label. This one sort of straddles the boundary between avant-progressive sounds that they are mostly known for and a more ‘fusion/symphonic’ approach, in line with Happy The Man or French TV 15.

Abandoning the lovely soundscapes of Snow Goose, Camel delved into layered guitar and synthesizers similar to those of Pink Floyd's Wish You Were Here on the impressive Moonmadness. Part of the reason behind the shift in musical direction was the label's insistence that Camel venture into more commercial territory after the experimental Snow Goose, and it is true that the music on Moonmadness is more akin to traditional English progressive rock, even though it does occasionally dip into jazz-fusion territory with syncopated rhythms and shimmering keyboards.

Islands is the seventh studio album by the Canadian-American rock group the Band. Released in 1977 to mixed reviews, it is the final studio album from the group's original lineup. Primarily composed of previously unreleased songs from the Band's career (including their 1976 cover of "Georgia on My Mind", which was recorded to aid Jimmy Carter in his presidential bid), Islands was released to fulfill the group's contract with Capitol Records, so that the soundtrack to their film The Last Waltz could be released on Warner Bros. Records. In the CD liner notes, Robbie Robertson compares the album to the Who's Odds & Sods.

There is no string quartet that has ever been written that can compare length and diversity with Terry Riley's Salome Dances for Peace. Morton Feldman has written a longer one, but it is confined to his brilliant field of notational relationships and open tonal spaces. Riley's magnum opus, which dwarfs Beethoven's longest quartet by three, is a collection of so many different kinds of music, many of which had never been in string quartet form before and even more of which would – or should – never be rubbing up against one another in the same construct. Riley is a musical polymath, interested in music from all periods and cultures: there are trace elements of jazz and blues up against Indian classical music, North African Berber folk melodies, Native American ceremonial music, South American shamanistic power melodies – and many more. The reason they are brought together in this way is for the telling of an allegorical story. In Riley's re-examining Salome's place in history, he finds a way to redeem both her and the world through her talent.

Recorded on December 15, 1988, during the tour for Talk Is Cheap, Live at the Hollywood Palladium is a loose, groove-laden affair, featuring the best from Keith Richards' first solo album as well as some Stones classics – mostly tunes he took lead vocals on. Opening with "Take It So Hard," the first thing that hits the listener is the lack of the gloss that was probably the only drawback to Talk Is Cheap, which is a very good thing, because while the album was still leaps and bounds more real than, say, Dirty Work, this live collection is loose without ever getting away from the band, and has an organic feel not present in the Stones' work since the early '70s. Rockers like "Whip It Up" and "Struggle" swagger, while Sarah Dash shines on "Make No Mistake" and "Time Is On My Side."