Sanctuary of Dreams (2004). Jesse Sola records as Numina. Sanctuary of Dreams, his first release on a major label (Hypnos Recordings), might be his best effort yet. In the past, his CDs have leaned to the darker sides of ambience. While this disc does have some ominous tones, the overall timbres are gentle and soothing. Sola's style allows the uplifting chords to be the overriding persona of this CD. He combines organic textures with languid atmospheres to create warm and friendly soundscapes.
Eye of the Nautilus (2005). The second release by Numina on the Hypnos label. Eye of the Nautilus is similar to its predecessor tonally, but also explores some different themes and textures. Evocative electronic percussion is present at times, but overall the feel is one of deep-space ambience…

“Alla Schumann” is the title of one of Tchaikovsky’s Variations, his clear homage to a composer whom he deeply admired: Robert Schumann. Aside from this admiration, it also expresses a clear kinship between them, both in the writing and in the emotional range of their works. Between the intimacy of the confessional declarations, and the nostalgia for a dream world, via the warmth of unparalleled passion, this disk offers an exploration of the musical and spiritual bond between two major figures of Romanticism. (Nathalia Milstein)

Green Day is one of the most successful bands in the world and was named the best punk rock band of all time by Rolling Stone. The American trio, formed in the early 1990s and influenced by British punk of the late 1970s, took a more mainstream turn by integrating catchy hooks and harmonies into their loud, energetic sound. They popularized punk rock in the US to the point of selling out stadiums, especially after the 1994 release of "Dookie," which sold 15 million copies worldwide. The singles "Basket Case" and "When I Come Around" topped the US modern rock charts for weeks. All the classics are present on this excellent live recording.

The English Concert is an "authentic performance" ensemble, founded by harpsichordist and conductor Trevor Pinnock in 1973. The group quickly established itself as one of Britain's leading orchestras in the then-young field of performing Baroque works on Baroque instruments. The English Concert and the energetic Pinnock helped put historical performance on the charts. The orchestra has a reputation for stylish, lively, and high-quality music-making. Its sound is light, bright, and clear. Its strings usually employ no vibrato, and its winds have a woody, attractive tone that blends well with strings and with the fortepiano.

This concert on November 3rd was professionally filmed, recorded and released in Japan (with some editing). The entire show has unfortunately never surfaced ("Body Language", for example, was cut from the video). The Queen On Fire 2 DVD set released last November included several numbers from this show as a bonus, and "Calling All Girls" is used at bumper music for the gallery.

Release date: 31 October, 2025. Step back to the early ’90s – an unforgettable era of pure pop, euphoric dancefloor anthems, soaring ballads and alternative classics. NOW Yearbook 1991 features 78 massive tracks across 4 CDs, housed in deluxe hardback book packaging with a 28-page booklet containing track-by-track notes. CD1 opens with a superstar double and a trio of #1s: George Michael and Elton John’s monumental live duet ‘Don’t Let The Sun Go Down On Me’. Chesney Hawkes’ defining debut ‘The One And Only’ and ‘The Shoop Shoop Song (It’s In His Kiss)’ from Cher. Roxette’s worldwide smash ‘Joyride’ is up next along with R.E.M.’s alt-pop classic ‘Shiny Happy People’. Seal makes his solo debut with the unforgettable ‘Crazy’, Simply Red shine with ‘Stars’ – the title track from the years’ biggest selling album - and Martika delivers the Prince-penned ‘Love… Thy Will Be Done’. Contemporary pop ballads from Paula Abdul, Beverley Craven and the timeless ‘Get Here’ from Oleta Adams feature, before sophisticated pop from Pet Shop Boys with ‘Jealousy’ and Marc Almond’s fabulous cover of ‘Jacky’. Kylie Minogue (‘What Do I Have To Do?’), Bananarama (‘Preacher Man’), Cathy Dennis (‘Touch Me (All Night Long’) were all dance-pop smashes and Belinda Carlisle, Voice Of The Beehive and Divinyls all deliver great US power pop brilliance, before The Clash’s enduring ‘Should I Stay Or Should I Go’ closes the disc…as we celebrate it becoming a #1 nearly 9 years after its’ original chart run.

Ukrainian pianist Anna Fedorova's new release, Liberté, is a cultural and musical dialogue between France and America. The influence of jazz plays a central role in this tribute to French and American composers whose work transcends genres and borders. Performed together with the Orquesta Sinfónica de Castilla y León under Pablo González, the album’s core pillars are Ravel’s Piano Concerto in G major and Gershwin’s Rhapsody in Blue. Also featured are short solo pieces that echo its central themes: three miniatures by Germaine Tailleferre, Time Peace, a miniature by Andrew Blickenderfer, and the jazzy Valse from Partita No. 5 by Fedorova's compatriot Myroslav Skoryk. Two French chansons round out Liberté, an album where freedom, jazz, and the shared spirit of France and America meet in music.

As part of its ongoing live on tour series, Follow That Dream (FTD) is pleased to announce the release of 'Elvis: The Last Tours Vol: 1'. Released as a 4-CD 5" digipak, this set features great shows from 1977 – West Palm Beach (Feb 13), St. Petersburg (Feb 14), Montgomery (Feb 16), Columbia (Feb 18), Johnson City (Feb 19) and Charlotte (Feb 20/21). The concerts feature all of the songs that were recorded by the engineer during the February 1977 tour. Recorded in mono.

Blending traditional songs from Uganda and the United States with original compositions, GENERATIONS continues Joe Sheehan’s evolving exploration of folk music through a contemporary jazz lens. The album includes arrangements of Ugandan songs Omugongo and Nabirye, the British and Irish folk ballad Sprig of Thyme, and the spiritual This Little Light of Mine, alongside five originals by Sheehan and his ensemble, Kinetic. Inspired by fieldwork and performance in Ghana and Uganda, these songs reflect on how we might live more fully and wisely. GENERATIONS expands the ensemble’s mission of cross-cultural dialogue, drawing on global folk traditions to create music that speaks across generations.

Glossa is now introducing into its catalogue one of the most sought-after titles from the now defunct Symphonia label and a recording replete with poetry and expertise. The graceful airs de cour of Pierre Guédron – who worked in the courts of the French kings Henri IV and Louis XIII at the beginning of the 17th century – are interspersed here with lute preludes by leading exponents of the instrument at the time, such as Robert Ballard and Nicolas Vallet. Soprano Claudine Ansermet and lutenist Paolo Cherici conjure up a recital of singular beauty which takes us back to the world of those early aristocratic salons, such as that of the Marquise de Rambouillet, one which was known throughout Europe as a centre of the highest order for literature, poetry and music.

Definitive Sound Series One-Step vinyl pressing issued with the album housed inside a numbered slipcase. On the slipcase, the Definitive Sound Series logos are in spot-varnish. Records are in a double gatefold, heavyweight tip-on jacket. First pressing limited to 3,000 numbered copies. Copy number in foil stamp on rear slipcase, and includes a Certificate of Authenticity. Records in branded Record Technology Incorporated "Anti Static Archival Quality Non Scratching" sleeves.

If you wanted a one word summary of this, their second night in Tokyo, it would be WOW! Discipline gets things underway but it’s Thela that really establishes that King Crimson are in the house with a truly smoking rendition that they seem very reluctant to let go of at the number’s conclusion. “Here’s a new song for the next King Crimson album” says Belew as they launch off into a blistering Manhattan / Neurotica. Levin’s growling bass and Bruford’s frantic shuffle puts this version into a league of its own. Throw in a frantically wild opening solo from Fripp and a howling counterpoint from Belew at the end and you’ve got a truly astonishing version of this Crimson classic before it was nailed down the following year. Having encouraged the audience to overcome their sense of reserve by getting them to stand up and come to front after a barnstorming Indiscipline, following Neil Jack And Me, Ade has to tell the now-overly enthused punters not to stand on the seats as any damage would have to be met by the band! This is a great sounding audience recording. The bright undistorted sound allows the band, who are on brilliant form, to come over loud and clear.

"Dear Ophelia" is a journey to the inner voices that we humans carry within us. With Shakespeare's Ophelia (Hamlet), one of the most interesting and powerful female figures in European cultural history, soprano Meredith Wohlgemuth and pianist Jinhee Park explore the emotional landscapes that connect us across time and cultures in their debut album. "Ophelia's story, filled with vulnerability and silence, helped us both to unlock something very personal and essential within us, and in her we found echoes of ourselves. At its core, this album is about relationship and connection between people, across time and through music, about the inner truth of being human," the pair confess in the booklet.

The musical collection by Antonia Padoani Bembo entitled _Produzioni armoniche_ (Harmonic Productions) contains cantatas and arias that together establish an intriguing portrait of the singer-composer born around 1640 in the Veneto. She received help from the guitarist-composer Francesco Corbetta who most probably accompanied her when she sang for Louis XIV, thereby obtaining a life-long pension with which to live in a women's community in Paris.

Joseph Gibbs is one of the 18th century’s best-kept secrets; his music is characterful and individual, fusing the best of Italianate virtuosity with English and quirky Gibbs-ian humour. Despite the obvious brilliance of his compositions, the 8 Solos for Violin and Basso Continuo, Op. 1 of c. 1746 are one of only two published sets of music, and there are scant references to Gibbs in the years after his death. However, the re-emergence of his portrait (painted by Thomas Gainsborough) in the early years of the 20th century sparked a curiosity and interest in Gibbs’s music, which has been described as amongst ‘the finest English violin sonatas of the century’.