April Moon is the second studio album by the English female singer-songwriter Sam Brown. It was originally released in 1990, on the label A&M. The album was produced by Sam Brown, and her brother Pete Brown. On release, the album was received favourably by the majority of music critics. Brown's last commercially successful solo album, it went on to peak at #38 on the UK Albums Chart and reached #30 on the Australian ARIA Charts. The album launched three charting singles in the UK. "With a Little Love" peaked at #44 on the UK Singles Chart; "Kissing Gate" at #23; "Mindworks" at #77. Then-Pink Floyd member David Gilmour sang backing vocals on the track "Troubled Soul" (he had also appeared on Brown's debut album, Stop!, in 1988).

Since their formation in Mechelen, Belgium at the dawn of 2008, Marche Funèbre have carved their own indelible mark into the annals of heavy music. Originally inspired by the renowned triumvirate of Peaceville bands - My Dying Bride, Paradise Lost and Anathema - Marche Funèbre have long since shaped those influences into a sound that is all their own, a unique distillation of melancholy, atmosphere, beauty and soul crushing heaviness. With revered albums like 2017s "Into The Arms Of Darkness" and 2020s "Einderlicht" they have risen to a place of prominence within the mournful ranks of doom metal’s elite - and still their creative star continues to rise. With a new deal in place with Ardua Music, Marche Funèbre are ready to unveil their fifth full length album, After The Storm - the most impactful and emotive set of songs to bear their name…

Ten on One (The Singles) is the first Greatest Hits album from German singer Sandra, released in 1987. Two singles were released for this compilation. This compilation includes songs from Sandra's debut studio album The Long Play (1985) and her second studio album Mirrors (1986). It was produced by Michael Cretu and Armand Volker. Sandra Ann Lauer, commonly known under her stage name Sandra, is a German pop singer who enjoyed a mainstream popularity in the 1980s and early 1990s with a string of European hit singles, produced by her then-husband and musical partner, Michael Cretu, most notably "(I'll Never Be) Maria Magdalena" (1985), "In the Heat of the Night" (1985), "Everlasting Love" (1987), "Secret Land" (1988), "Hiroshima" (1990) and "Don't Be Aggressive" (1992). Her albums Into a Secret Land (1988) and Close to Seven (1992) have won Sandra high critical acclaim.

Men Without Hats broke big with their 1982 debut, Rhythm of Youth. Though they never maintained that level of success, their third album Pop Goes the World was a smart, well-crafted, woefully underrated offering. The album chronicles the quest for and backlash of fame on songs like the title track, on which Ivan sings "Johnny and Jenny had a crazy dream/See their pictures in a magazine." Perhaps it was a way of dealing with the band's sudden success/failure, particularly on "Lose My Way" and "The Real World.." Thankfully, a wild sense of humor and a heartbreaking poignancy keeps the album from becoming too serious. Additionally, each song is vastly different: there are some lullabies ("Moonbeam"), some anthems ("Jenny Wore Black"), and some dirges ("Bright Side of the Sun" - which is criminally short, adding to its power)…

Sanctified, indeed - and just the kind of record to show why Slide Hampton was unlike any of his trombone-playing contemporaries! The set's got a tightness and punch that's really unique - not the compact quality of JJ Johnson and Kai Winding, but also not the hardbop of Curtis Fuller either - instead king of a rousing approach to jazz trombone that really makes Hampton the kind of the soul jazz approach to the instrument! Slide's working here with a cool octet that has the focus of a group half their size - a really well-chosen lineup of young, hip players that includes George Coleman on tenor sax, Hobart Dotson and Richard Williams on trumpets, Larry Ridley on bass, and additional trombone from a y oung Charles Greenlee!

ProtoU & Oljus join forces on this Viking inspired dark ambient album. Ritual drumming and deep drone echo through dark forest and underground caves.
Welcome to the heart of the Nordic forests, where the rustling of leaves and the cool breeze fill your senses. You breathe in the rich, earthy scent of pine, as you survey the towering trees that surround you. The night sky is a deep, velvet black, punctuated by the glimmering of stars. They cast a soft, ethereal light on the clearing, as if observing the mysterious events about to unfold. The forest is alive with the sound of chanting, a distant hum, growing louder and more intense as it approaches. Drums join in and reverberate through your chest. You watch, mesmerized, as the elders perform the ritual, their movements fluid and otherworldly…

Danish 70's (1971-1974 ) progrock band, a second incarnation of Rainbow Band as it is essentially the same band that had to change their name in July 1971 as a Canadian band had already registered the name and the band was about to release ind the US and UK. As Rainbow Band, a "Supergroup" of danish rock and jazz artists, they releases their selftitled debut album in 1970. The album was re-recorded with new vocalist Allan Mortensen in 1971 and re-released again in the second version under the new band name, Midnight Sun. As Midnight Sun the band released two albums and two singles. Bent Hesselmann went on as a solo artist, releasing the now rare album "Bøsse". Peer Frost left the band to join Savage Rose. Allan Mortensen also persued a solo career.

Jaga Jazzist, the Norwegian multi-instrumental boundary-busters, may occupy a niche, but it feels like an enduringly spacious and fertile one, where sounds that recall everything from Weather Report to big-band jazz, krautrock, Radiohead or even the Pat Metheny Group intertwine. Last year’s 20th anniversary retrospective was fascinatingly diverse, but Starfire – conceived in composer Lars Horntveth’s new Los Angeles home, rather than in Oslo – is a more densely layered and studio-dominated deployment of this band’s awesome resources. The title track is classic Jazzist: a sound like the Shadows driven by a marching-band thump skids through power-chord guitar hooks and Zappaesque melodic zigzags; the atmospheric Big City Music is a masterly balance of quickfire rhythm-section ingenuity and the instrumental diversity of guitars, keys and brass. The tunes remain quirkily dramatic and the thematic scene-shifting spectacular, but a little thinning-out would have let Jaga Jazzist’s uniquely mercurial music breathe more.