Calling New World (1991) a Zombies effort is as erroneous as portraying No Quarter: Jimmy Page & Robert Plant (2001) as a Led Zeppelin album, as in both cases, principal components are glaringly absent. On this disc, co-founders Rod Argent (vocals/keyboards) and Paul Atkinson (guitar/vocals) are listed not as part of the band, but rather "special guests." Present and accounted for from the initial combo are Chris White (bass/vocals), Colin Blunstone (vocals), and Hugh Grundy (drums). Although White and Blunstone attempt to pick up the slack in the wake of Argent's minimal involvement, their choice of Sebastian Santa Maria (keyboards/guitar/vocals) is a less than suitable substitute for the missing co-founder. Not surprisingly, while both White and Blunstone are excellent songwriters, much of the material lacks the quirky and jazzy influence that Argent infused into the Zombies' 'sound'…

Melodic Death Metal pioneers Mors Principium Est return with full force on their ninth studio album, Darkness Invisible - a powerful and emotionally charged statement that continues their legacy of intensity, melody, and evolution. Musically, the album delves even deeper into the band’s core identity: razor-sharp riffing collides with sweeping orchestration, melancholic harmonies, and relentless rhythmic precision. But Darkness Invisible is not content to simply revisit old formulas. It expands upon them. The arrangements are more cinematic than ever, layered with subtle electronic textures, ambient passages, and dynamic shifts that mirror the emotional weight carried within the lyrics. As melodic death metal continues to morph and mutate in the modern era, Mors Principium Est remain a steadfast force - rooted in tradition, yet never bound by it…

This album consists primarily of performances recorded at the Hickory House Club in October 1953, with a trio consisting of bassist Vinnie Burke and the great drummer Joe Morello, who never achieved the fame he deserved, but did make a name for himself in Dave Brubeck's group. At the end of this program are five studio recordings made earlier that same year, with Morello and bassist Bob Carter. McPartland's style is witty and elegant, and if her solos never exactly catch fire, they never settle for mere decorousness either. She plays with plenty of energy, and her inventiveness is consistently impressive. The program is unsurprising, consisting mainly of such standards as "I've Got the World on a String," "A Foggy Day," and "Willow Weep for Me," but the material never sounds tired. The sound quality is, surprisingly, quite good…

Happy The Man (1977). Though it met with little commercial success, Happy the Man's 1977 debut quickly became a cult sensation with fans of prog rock. It's easy to see why: their sound combines a number of diverse influences in a distinctive manner, and their music is as complex and meticulously arranged as any prog album one cares to mention. Unlike some popular prog acts, Happy the Man does not allow one instrument to take center stage or allow relentless soloing to dominate the songs. Instead, the focus is on complex interplay between the group's players: compositions like "Knee Bitten Nymphs In Limbo" and "Stumpy Meets the Firecracker in Stencil Forest" are built on the kind of mathematically complex yet playful instrumental interplay that is normally associated with Frank Zappa's most complex work…

A Collection Of Rare Tracks, Unreleased Songs & B-Sides.
The German synth-pop trio Camouflage was officially formed in 1984 by vocalist Marcus Meyn and keyboardists/programmers Heiko Maile and Oliver Kreyssig. The group took first place in a radio-sponsored song contest in 1986, and before long, their debut single, "The Great Commandment," was scaling the German charts. Their full-length debut, Voices and Images, was released in 1988, reflecting the group's classic new wave synth-pop influences, but most of all Depeche Mode. 1989's Methods of Silence began to broaden Camouflage's sonic palette, yet the Depeche Mode sound still remained at the forefront. Oliver Kreyssig then left the group, leaving Maile and Meyn as a duo augmented by several studio musicians…

The Island Years is a new comprehensive anthology featuring the work British rock band Spooky Tooth who released seven studio albums between 1968 and 1974. This new box set features all of those long players and even steps back a year to 1967 to make room for Supernatural Fairy Tales, an album recorded by an earlier incarnation of the band called Art. The Island Years is available as a nine-CD box set or an eight-LP collection. All of the albums feature rare bonus material and the anthology ends with a full concert from April 1972, recorded in Germany. In total, there is over 30 previously unreleased recordings. The CD box comes with a 48 page book.

It's almost 50 years since blues harp master Carey Bell released his debut album on Delmark Records. Carey's children followed him into blues and performed with him often while growing up. Lurrie's debut recording was with Carey appearing on Heartaches And Pain and he joined with pops again in 2006 to record a live album / DVD, Gettin' Up only one year before Carey passed away. Now Lurrie, Steve, Tyson and James Bell join forces as The Bell Dynasty to present this tribute to their dad, Carey Bell. The Bell Dynasty is joined by special guests Charlie Musselwhite and Billy Branch.

Bill Evans's Finest Hour represents a number of choice tidbits recorded by the pianist between 1958 and 1970 for Verve. The settings of these recordings range between the intricate trio work he became so identified with to, in at least one instance, full orchestration. While Evans is certainly capable of bopping with the best on songs like "Luck Be a Lady" and "I Should Care," his style glimmers more distinctly on quieter numbers. The fragile "Elsa" and subtle "Spring Is Here" allow him to slowly, though deliberately, develop his impressionistic piano lines. Sensitive accompaniment by drummer Paul Motian and bassists Gary Peacock and Chuck Israels also adds a rich dynamic to these cuts. The recording of "I Loves You, Porgy" at the Montreux Jazz Festival is even more low key and bare, featuring Evans unaccompanied…

New expanded 3CD edition of the classic 1975 album by Procol Harum, with eight bonus tracks (five previously unreleased) of session out-takes, along with two previously unreleased concert recordings made at the Capitol Theater, Passaic, New Jersey & Leicester University in October & November 1975. Includes a lavishly illustrated booklet with essay by Procol Harum authority Roland Clare featuring exclusive interview quotes from Gary Brooker and Mick Grabham.
Released in August 1975 the album was the product of a series of recording sessions at The Who’s Ramport Studios in Battersea, produced by the legendary American song writing and producing team of Jerry Leiber and Mike Stoller. Procol’s Ninth was another fine collection of material written by Gary Brooker and lyricist Keith Reid, with such memorable tracks as Pandora’s Box…

Ambient Ibiza Vol. 1 (1996). Ambient Ibiza has been compiled with care fo reflect the true feeling of Ibiza. Ambient Ibiza does not mean long was electronic tracks as you would find on other compilations - maybe mellow would be a better term to use. The link between all the tracks is beauty and melody. There are many styles of ambient on this compilation and no matter where you are, whether it be winter, summer, spring or autumn, the music contained on this CD will evoke memories of sunny days and warm nights in Ibiza. Close your eyes and drift away to the music that is Ambient Ibiza…

Dirkschneider & The Old Gang (DATOG) was originally launched in 2020 as a one-off charity project, but quickly developed a momentum of its own and formed into a band consisting of Udo Dirkschneider (vocals, Accept/U.D.O./Dirkschneider), Peter Baltes (bass, vocals, Accept/U.D.O./Dirkschneider), Stefan Kaufmann (guitar, Accept/U.D.O.), Mathias Dieth (guitar, Sinner/U.D.O.), Sven Dirkschneider (drums, U.D.O./Dirkschneider) and Manuela Bibert (vocals). Between 2020 and 2021 the first three singles attracted a lot of attention, whereupon the band wrote more songs and recorded their debut album. With a unique vocal concept of three voices, powerful riffs and stylistic complexity, DATOG combines classic heavy metal with a modern, powerful production.

Saxophonist Greg Osby attacks a varied mix of jazz standards on St. Louis Shoes with results that sound both well within the "tradition" and utterly modern. Reminiscent of midcareer Wynton Marsalis, Osby seems to want to mix the Cotton Club-style swing of Duke Ellington with the angular bebop and calculated arrhythmia of Thelonious Monk. Backed by a stellar ensemble including trumpeter Nicholas Payton, bassist Robert Hurst, pianist Harold O'Neil, and drummer Rodney Green, Osby crafts interesting arrangements of songs including the barely recognizable Gershwin chestnut "Summertime" and the Dizzy Gillespie classic "Shaw 'Nuff" that are both harmonically challenging and rhythmically unique. Check out the quirky and angular Raymond Scott meets Monk written solo that Osby and Payton play in the middle of Ellington's "East St. Louis Toodle-Oo"…

Consider this a primer, because there is no way a career spanning 25 years can be summarized justifiably within the cramped space of an 80-minute disc. The Best of Depeche Mode, Vol. 1 takes a very selective skip through the group's past, and it leaves no room for anything off Black Celebration - an album many fans (albeit the most depressive ones) cite as a favorite. While the relatively thorough Singles 81>85 and Singles 86>98 can be seen as the proper entry route, they don't have the benefit of covering 2001's Exciter or 2005's excellent Playing the Angel, so this disc - as of 2006, at least - is very nearly the best possible way to get a feel for the whole daunting discography. Tending to stick to the singles that made the greatest impact on the mainstream and club charts, the selections do signify that the group hasn't lost any traction. Just compare the difference between 1981's "Just Can't Get Enough" and 2005's "Precious"…

Since their formation in 2013, Swedish progressive rock band Agusa has carved out a distinct name for themselves in the world of retro prog, Scandinavian folk rock, and Krautrock. Their evocative sound and immersive compositions made such an impact that Karisma Records is now proud to present a reissue of their debut album, Högtid.
Originally released in 2014, Högtid quickly became a favourite among fans of vintage progressive rock. The album is a masterful collection of extended instrumentals, weaving together folky melodies, psychedelic jams, and otherworldly Krautrock explorations. Listeners will hear echoes of Kebnekajse, Amon Düül II, and Camel, as Agusa channels the spirit of the genre’s golden era while crafting a sound that is uniquely their own…

Between the cover art and the overall musical style, McLuhan is highly reminiscent of early underground British progressive rock bands - in particular, echoes of Warm Dust's style can be heard in the use of spoken word and brass instruments to craft a decidedly different texture from the rest of the pack. In fact, they were a US group, offering an intriguing style of progressive rock with fusion-derived flourishes. It's always melodic and nicely done. Definately of interest for fans of Zappa, Canterbury or just anyone who loves complex and rich eclectic yet melodic jazz-fusion with occasional bombastic organs.