Five years after the release of Hearts of No Light, Swiss avant garde experimentalists Schammasch return with the follow up, The Maldoror Chants: Old Ocean - set for release via Prosthetic Records on October 25. This upcoming release will be the second in an ongoing series of works by Schammasch that draws from Les Chants de Maldoror - one of the 19th century’s most fascinating literary works which would later become part of the foundation of the surrealist movement. Sonically, the album charts the continued evolution in the sound of Schammasch; dark, gothy undertones rise often to the surface with sultry spoken word taking centre stage at various points. A pulsating, monolithic rhythm flows through the album with their atmospheric take on post-black metal providing a majestic backdrop - replete with a love for detail and the use of unusual elements like accordions, classical orchestration or industrial soundscapes…

Tift Merritt has become unexpectedly (and thankfully) prolific since she signed with Fantasy Records in 2008, after going four years without releasing a record. See You on the Moon is her third album in as many years, and from the first track, the gentle and soul-infused love song "Mixtape," she demonstrates that she can maintain solid quality control at this pace and does so with ease. See You on the Moon is a more spare and intimate-sounding set than 2008's Another Country, as if she learned a bit about the value of concision with her 2009 solo acoustic live set Buckingham Solo, but Merritt clearly works well with others (the backing musicians are uniformly great, and Jim James of My Morning Jacket contributes some solid harmonies on "Feel of the World"), and while the arrangements wisely avoid cluttering the clean landscapes of her melodies, producer and engineer Tucker Martine gives the recordings a full-bodied sound even when the performances are purposefully simple. As on Merritt's other albums, the real key to See You on the Moon lies in her songs and her voice, and both are in splendid form here.

The Beatles never quite made a commercially released Christmas album, though they put together special singles for their fan club every year from 1963 to 1969, then compiled them as The Beatles Christmas Album, also just for the fan club, in 1970. These recordings were more spoken-word than musical, though there was a song, "Christmas Time (Is Here Again)," heard in excerpts on the 1967 record. It has been left to Ringo Starr to release the first full-length Christmas album from a Beatle, and I Wanna Be a Santa Claus is very much in the group's spirit. Since he returned to recording in 1992, Starr has made a point of making music reminiscent of the Beatles, hooking up in 1998 with a group led by Mark Hudson dubbed the Roundheads. Hudson is everywhere on I Wanna Be a Santa Claus, co-writing the half-dozen originals with Starr and others, co-producing with Starr, and handling a variety of instruments. He and keyboard player/arranger Jim Cox clearly are steeped in the Beatles, and they have effectively recreated a Beatles sound on the record, in some cases aping specific songs.

While this soundtrack is arguably most notable for introducing Middle America to Blondie, there is also some interesting incidental music written by legendary producer Giorgio Moroder and performed by Harold Faltermeyer and Keith Forsey – the latter of which may be familiar to some as percussionist for the German prog/art rock collective Amon Düül. There is likewise a vocal contribution from actress/vocalist Cheryl Barnes on "Love and Passion." The album's pervading heavily manufactured and synthetically generated atmosphere is convincing in its aural depiction of the shallow decadence portrayed on the screen. It took almost two decades before American Gigolo was issued on CD in North America. The primary impetus for the release was the "extended version" of Blondie's "Call Me," which was unavailable on any Blondie album and was too long – at over eight minutes – to fit onto a single. The song was co-composed by Debbie Harry and Moroder specifically for this project, becoming the second chart-topper for the band, ultimately staying at number one for six weeks in March of 1980.

Maryland's Deanna Bogart is an explosive live performer, mixing in several streams of American vernacular music into her sets, ranging from funky R&B romps to hushed, Norah Jones-like jazz-pop ballads, and she just happens to be a dynamite barrelhouse piano player who also plays a pretty mean tenor saxophone, as well. Her versatility is truly astounding, and while it might be safe to say that everything she does grows out of the blues, to label her a blues artist doesn't even begin to cover the half of it. On Real Time she offers up a typically varied program of New Orleans R&B, late-night blues, smoky jazz ballads, a touch of country, and some rousing boogie-woogie piano instrumentals, but what keeps it all stitched together is her strong, sultry singing.