Pet Shop Boys resume their exceptional late-period run with Hotspot, their third in a series of high quality collaborations with producer/engineer Stuart Price. Recorded at Berlin's legendary Hansa Studios, the acclaimed duo's 14th album finds them firmly in their element, delivering crisp electro-pop invocations, wry dance bangers, and melodic gems both sunny and stormy. Still more or less in the self-described "electronic purist" mode of 2013's Electric and 2016's Super, Neil Tennant and Chris Lowe make a few allowances here, particularly on the melancholic standout, "Beneath the Heather," which features some crafty psych-inspired guitar work from Suede guitarist Bernard Butler.

In 2019, following their joint tour of Japan, guitarist Robben Ford and saxophonist/keyboardist Bill Evans recruited jazz bassist James Genus and Steely Dan drummer Keith Carlock to cut The Sun Room in a Nashville studio. The group is back with Rolling Stones' bassist Darryl Jones in the bass chair. Recorded in the same studio, this set's focus relies heavily on a more rockist jazz-funk and blues. Common Ground was co-produced by the saxophonist and Clifford Carter, and its nine tracks clock in at just under an hour.

Legendary New York hardcore pioneers AGNOSTIC FRONT return with “Echoes In Eternity,” their most ferocious and unflinching album in decades. Signed to Reigning Phoenix Music, the band deliver 15 tracks of blistering riffs, unapologetic truth, and street-born authenticity.

Roots band Birds of Chicago formed in 2012 as a collaboration between Chicago's JT Nero (JT & the Clouds) and Vancouver's Allison Russell (Po' Girl). Although both singer/songwriters were actively leading their own projects, their combined efforts were convincing enough to make a go of it and they set about recording their debut. Though a talented songwriter in her own right, a big part of the Birds of Chicago sound came from the material Nero had written specifically for Russell to interpret, and it was their combined voices that won over fans on 2012's self-titled Birds of Chicago LP. Mixing folk, mountain gospel, soul, and rock, the two bandleaders and a revolving cast of players became a well-seasoned touring act, and in 2013 delivered the concert album Live from Space.

Celtic Woman's brand-new album Nollaig - A Christmas Journey features Christmas favorites and Yuletide classics along with brand-new composition Nollaig na mBan and some Irish songs with a Christmas twist. Each song is a window into a winter's evening all wrapped in a feeling of joy. The word `Nollaig' is Irish for `Christmas.' It is also the name for December and is a given name for many people born within the month of December. For Celtic Woman, it epitomizes the spirit of the Christmas season.

Following the release of the 1977 album Animals and its accompanying "In the Flesh" tour, Pink Floyd went on hiatus, having become popular enough to support solo albums by bandmembers who were inclined to make them. Guitarist David Gilmour and keyboard player Richard Wright were. For his album, Wright assembled some of the backing musicians who had been accompanying Pink Floyd for years, in particular reed player Mel Collins and guitarist Snowy White. So it was no surprise that the resulting record, Wet Dream, sounded like outtakes from Pink Floyd sessions.

Soprano Katharina Konradi and pianist Daniel Heide announce their upcoming album, the third volume of their complete recordings of Liszt’s art songs.

Mirrors is the sixth studio album by Blue Öyster Cult, released in 1979. Mirrors is the first Blue Öyster Cult album not produced by long-time producer and manager Sandy Pearlman. The album is notable for a collaboration with British fantasy/science-fiction author Michael Moorcock who co-wrote a song based on his novel The Fireclown. "The Great Sun Jester" is the first of several Moorcock co-writing credits with the band. After the success of 1976's Platinum Agents of Fortune, 1977's Gold Spectres and 1978's Platinum live effort Some Enchanted Evening, the fact that Mirrors struggled to reach Gold status was disappointing to band and label alike. According to interviews with the band and the production staff, the intent for this album was to make a high charting and glossy production; however the backlash felt from this attempt was a reason for their future pairing with Martin Birch, and their attempt to return to a darker sound.

This will be quite a discovery for those who know the music of Bedrich Smetana only through his grand and nationalistic cycle of tone-poems, Ma Vlast, even if they are yet familiar with his more painfully intimate string quartets or his folkloristic operas. For Smetana, like most composers, needed to eat; and to do so he was happy to make his own contribution towards satisfying the seemingly insatiable appetite of the bourgeois 19th-century public for piano music that they could perform at home. Music of no great difficulty but boundless charm, these miniatures are now seldom heard and even less often recorded, and this is a shame, for works such as the Op.3 Characteristic Pieces show how the pianistic extroversion of Brahms and Liszt (who was a great admirer and supporter of the young Smetana, giving him valuable introductions to publishers) could be adapted to a domestic context, and with the particular inflection of Czech and Bohemian character, derived not only from simple and song-like melodies but also irregularly stressed dance-rhythms that the young Italian pianist Roberto Plano relishes to the full on this welcome new survey.

At the same time as we get to know Wilhelm Friedemann Bach’s compositions we can also take stock of the real personality of Johann Sebastian Bach’s eldest son. His works are still mostly unknown to the public at large and remain in the shadow of those by his brothers. It is true that his music still seems to be somewhat strange, imprisoned as it undoubtedly is by the composer’s profound inner drama. Born in 1710, Wilhelm Friedemann benefited more than any other of his brothers from the impact of his father’s personality; we may well remember the famous phrase attributed to Johann Sebastian «The son that gives me joy is the one that I love» ?

David Matthews and Peter Sheppard Skærved have been collaborating on a series of works for violin and viola for many years now, with Matthews setting Sheppard Skærved formidable technical challenges, and Sheppard Skærved surprising Matthews by finding a way to overcome the difficulties in his path. Behind all the pyrotechnics, this partnership is generating one of the largest, and most musically rewarding, body of compositions for violin and viola by any living composer. Many of Matthews’ pieces record his experience of nature or offer tributes to friends, with the works heard in this third volume also tracing a journey from darkness to light.

Amanda Favier et Élodie Soulard forment depuis quelques années un tandem inédit qui bouscule les codes. Avec ce premier album commun, elles nous convient à un programme tour à tour pétillant et nostalgique, consacré au génial compositeur et arrangeur viennois Fritz Kreisler. Le violon virtuose et l’accordéon créent une alchimie sonore unique, à la fois moderne et intemporelle, qui invitent à une redécouverte de ces pépites souvent jouées en bis.

Nuremberg (Original Motion Picture Soundtrack) is the official soundtrack to the eponymous 2025 historical drama film, written and directed by James Vanderbilt. The film is based on Jack El-Hai's 2013 book The Nazi and the Psychiatrist and follows psychiatrist Douglas Kelley (Rami Malek), who is tasked with determining if Hermann Göring (Russell Crowe) is fit to stand trial at the Nuremberg Trials. The music, composed by Brian Tyler, consists of 18 tracks, including the extended multi-part composition "Nuremberg Suite". The soundtrack was released digitally on November 7, 2025.

Composer Alexandre Desplat created the soundtrack for Guillermo del Toro's Netflix film "Frankenstein" (2025). The musical score, characterized by large-scale orchestration and expressive violin parts performed by Norwegian violinist Eldbjørg Hemsing, emphasizes both the film's gothic atmosphere and its emotional drama. The soundtrack blends elements of anxiety, tragedy, and occasionally a waltz-like playfulness, balancing epic scope with restrained lyricism, reflecting the characters' internal conflicts. The main theme, "Fire," has already been officially released on streaming platforms and illustrates the key internal experiences of the characters. Desplat's work continues the tradition of his collaborations with del Toro, combining elements of traditional horror with symphonic power, and has been highly praised by critics for its profound emotionality and unique compositional style.

With its titanic guitar solos, symphonic suites, and multi-layered melodies, Muse's fifth album operates under the assumption that bigger is better. This is the very definition of a super-sized album, an album that takes its cues from Queen, its lyrics from science fiction novels, and its delivery from rock opera. It's also the first time that Muse has truly sounded like Muse, as few bands since Queen have so readily explored the intersection of bombast and extravagance. The Resistance is most certainly extravagant – there are snatches of classical piano entwined throughout, not to mention bilingual lyrics, concert hall percussion, coronet solos, and song titles like "Exogenesis: Symphony, Pt. 2 (Cross-Pollination)" – but it's also quite beautiful, capable of moving between prog rock choruses and excerpts from Chopin's "Nocturne in E Flat Major" within the same song.