JUNO Award winning chart-toppers Said The Whale have announced a deluxe edition release of their 2017 LP As Long As Your Eyes Are Wide via Hidden Pony Records. Released one year after the original on March 30, the album will include 10 additional tracks, 5 B-sides, 4 acoustic versions, and 1 new cover song. To celebrate the release, the band has shared one of the previously unreleased tracks “Congratulations”.

Ambassadeur de la nouvelle danse africaine, touche à tout de génie, il écrit sur le sable du désert des chansons d’une beauté touchante !

From shadow to light, this is the emotional curve of Sergei Prokofiev's Sonatas for violin and piano, published in the 1940s. this was an intense period of creation for the Russian musician who was also working on his ballet Cinderella and his Fifth Symphony.

For Victor Julien-Laferrière, the Centre for Fine Arts is synonymous with celebration! On the 3rd of June, the young French cellist won first prize at the very first Queen Elizabeth Competition for cello. He wowed the jury with his technique, which demonstrated staggering precision, accuracy and subjectivity, both during the prescribed work and in Shostakovich's First Concerto. The young award winner is back at BOZAR, this time in the company of Jonas Vitaud, a pianist lauded by the BBC Music Magazine for the "beauty of his phrasing".

Although the best of the Kinks' early work is among the best British Invasion music, their initial pair of albums was far less consistent than those of the Beatles, Stones, and Who. Aside from the great "You Really Got Me," this was a shabby, disappointing set with surprisingly thin production. As R&B cover artists, the Kinks weren't nearly as adept as the Stones and Yardbirds; Ray Davies' original tunes were, "You Really Got Me" aside, perfunctory Merseybeat-ish pastiches, and a couple of tunes that producer Shel Talmy penned for the group ("Bald Headed Woman," "I've Been Driving on Bald Mountain") were simply abominable. The rave-up treatments of the R&B standards "Got Love If You Want It" and "Cadillac" were good, and the simple "Stop Your Sobbing" would eventually be covered by the Pretenders, but overall this is really patchy.

The Kink Kontroversy was a considerable leap forward in terms of quality, but it pales next to Face to Face, one of the finest collections of pop songs released during the '60s. Conceived as a loose concept album, Face to Face sees Ray Davies' fascination with English class and social structures flourish, as he creates a number of vivid character portraits. Davies' growth as a lyricist coincided with the Kinks' musical growth. Face to Face is filled with wonderful moments, whether it's the mocking Hawaiian guitars of the rocker "Holiday in Waikiki," the droning Eastern touches of "Fancy," the music hall shuffle of "Dandy," or the lazily rolling "Sunny Afternoon." And that only scratches the surface of the riches of Face to Face, which offers other classics like "Rosy Won't You Please Come Home," "Party Line," "Too Much on My Mind," "Rainy Day in June," and "Most Exclusive Residence for Sale," making the record one of the most distinctive and accomplished albums of its time.

Lola , of course, became a classic-rock radio mainstay, but this entire 1970 album is nothing less than essential: Apeman; Got to Be Free; A Long Way from Home; Rats , and more songs that run from the funny to the furious.

The Kinks' second album, Kinda Kinks, was rush-recorded on either side (and in the midst) of a world tour that took them all the way to Australia in the course of bridging the 1964-1965 New Year. Under those circumstances, the fact that every cut but one was an original was no small tribute to the songwriting ability of Ray Davies, even if most of the songs were less than first-rate because what was first-rate was also highly memorable, and what wasn't also wasn't bad. In the space of two frantic late-December and mid-January sessions, and a brutal week in February of 1965, the group cut 11 songs to fill out a long-player that was already destined to contain "Tired of Waiting for You" (a product of the previous summer's work, held back by producer Shel Talmy for a single).

The brothers Davies were in fantastic form on this 1967 album; the songs range from the witty to the wistful: their classics Waterloo Sunset; Death of a Clown , and David Watts plus Two Sisters; Lazy Old Sun , and more! Having closed out their hard-rock period, the Kinks went pastoral on "Something Else". It's an album of folk and pop songs about the quiet pleasures of family life and the English countryside, dotted with harpsichords, acoustic guitars, and ethereal harmonies.

The Kinks came into their own as album artists and Ray Davies fully matured as a songwriter with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit "Til the End of the Day" (utilizing yet another "You Really Got Me"-type riff) and the abrasive, Dave Davies-sung cover of "Milk Cow Blues," but tracks like the calypso pastiche "I'm on an Island," where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of "Where Have All the Good Times Gone?," the plaintive, almost fatalistic ballads "Ring the Bells" and "The World Keeps Going Round," and the Dave Davies-sung declaration of independence "I Am Free."

HighRes-ReMaster of this 1969 album from the iconic British Rock band led by brothers Ray and Dave Davies. "Arthur (Or the Decline and Fall of the British Empire)" is the seventh studio album by The Kinks, released in October 1969. Kinks frontman Ray Davies constructed the concept album as the soundtrack to a Granada Television play and developed the storyline with novelist Julian Mitchell; however, the television programme was cancelled and never produced. The rough plot revolved around Arthur Morgan, a carpet-layer, who was based on Ray Davies' brother-in-law Arthur Anning.

Ray Davies and company had already participated in one failed television musical when the movie Percy came along it wasn't as original as Arthur, nor did Davies have nearly as much to do with its creation, but he still outdid himself given the material at hand. Directed and co-produced by Ralph Thomas, who had been responsible for some brilliant thrillers (The Clouded Yellow, Above Us the Waves) and very popular comedies (Doctor in the House) in past decades, Percy was the story of the world's first penis transplant (it was probably inspired, or at least justified, by big-budget efforts of the period like Myra Breckinridge).

Seventh album Recall The Beginning… A Journey From Eden was produced by SMB occasional keyboard player and co-writer Ben Sidran, and released in March 1972. The album featured another new line-up, with longstanding bassist Gerald Johnson appearing for the first time. Bed Sidran and Jim Keltner guest on keyboards and drums, and arranging legend Nick DeCaro handles the horns and strings.

Rocked at a very young age by music from the Middle East and very early trained in classical music and jazz, Omri Mor is a young virtuoso pianist with sparkling play, whose multiple influences perfectly mastered reveal an unconventional pianistic talent. Spotted very quickly by Avishaï Cohen (double bass) for his impressive virtuosity and his great knowledge of the Arabo-Andalouse music, Chaabi and Jazz, this one hires him to shoot with him in trio and they will perform together on the most great European and worldwide scenes.

Anna & Elizabeth’s The Invisible Comes to Us taps into their imagination-fueled arsenal to present an extraordinary work of unique, genre-bending storytelling and sonic exploration. Lauded by many well-known musicians and widely loved for their moving minimalist arrangements, Anna & Elizabeth’s partnership pioneers new ways of presenting old songs and stories to modern audiences. Co-producer Benjamin Lazar Davis (Cuddle Magic) and legendary avant-rock drummer Jim White (The Dirty Three, Xylouris White) assist in the duo’s vision of breathing life and new perspective into the crackling and disintegrating recordings and artifacts of the past. Rarely does an album based on traditional folk music resonate so strongly in modern times.