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.

LeAnn Rimes (born August 28, 1982) is an American singer. Rimes rose to stardom at age 13 following the release of her version of the Bill Mack song "Blue", becoming the youngest country music star since Tanya Tucker in 1972. Rimes made her breakthrough into country music in 1996 with her debut album, Blue, which reached No. 1 on the Top Country Albums chart and was certified multi-platinum in sales by the Recording Industry Association of America (RIAA). The album's eponymous leadoff single, "Blue", became a Top 10 hit and Rimes gained national acclaim for her similarity to Patsy Cline's vocal style. When she released her second studio album in 1997, You Light Up My Life: Inspirational Songs, she moved towards country pop material, which set the trend for a string of albums released into the next decade. Rimes has won many awards, including two Grammys, three ACMs, a CMA, 12 Billboard Music Awards, and one American Music award. The collection includes studio albums from 1996 to 2007, and two compilations.

Patrik Kleemola (b.1981) is one of the most prominent Finnish guitarists to emerge in recent years. After winning the II Guitaristival “Takemitsu” International Guitar Competition in Finland 2004 and gaining prizes in other competitions such as Gargnano's International Guitar Competition, his concert career has taken him to London, Buenos Aires, Rome, Milan, Athens, Turin, Florence, Tallinn, Helsinki and other cities in South America and Europe.

Recorded during two sold-out festival performances on 16 and 18 May, the album captures Mäkelä leading the Concertgebouw Orchestra, joined by five choirs – the Choeur de l'Orchestre de Paris, Netherlands Radio Choir, Laurens Symfonisch, and the Dutch National Children’s and Boys’ Choirs – and eight international soloists in Mahler's ‘Symphony of a Thousand’. The performance on 18 May, the anniversary of Mahler's death, was attended by his granddaughter, Marina Mahler.

Kind of a minor league version of the Doors, Clear Light were a West Coast phenomenon, and although they didn't last too long, were an interesting group. A very good slice of Los Angeles psychedelia, Clear Light were a six-piece band that combined folk, rock, psychedelia, and even a touch of classical to their sound. The end result, though, is a little ponderous and pretentious, but strangely listenable. The big hit off this album (produced by Paul Rothchild and engineered by Bruce Botnick) was "Mr. Blue," a psychedelic folk song written by Tom Paxton. It's over six-minutes long and a bit overbaked, but it does have an odd appeal. The finer moments are guitarist Bob Seal's psychedelic folk-rock songs, namely "With All in Mind" and "They Who Have Nothing."

Internationally acclaimed British mezzo - soprano Kitty Whately , Grammy Award - winning American tenor Nicholas Phan , and distinguished British pianist Anna Tilbrook have joined forces to record Rebecca Clarke – The Complete Songs , the first album to encompass Clarke’s entire song output, many of which are world - premiere recordings.