Joseph Shabason, Matthew Sage, and Nicholas Krgovich form a pretty perfect triangle, musically and geographically. Based out of Toronto, Colorado, and Vancouver respectively, the three convened at Sage’s converted barn studio at the foot of the Rockies to diagram their kindred ability to extract grandeur from the most passable of life’s daily details. On his own, saxophonist Joseph Shabason warps late 80s adult-contemporary and smooth jazz aesthetics into tidepools of fourth-worldly sound design that are infinitely more self-aware and emotionally honest than any of their distant reference points. M. Sage, in a parallel sense, blends his skills as an instrumentalist with synthesis and field recordings to create auditory reflections of the natural world that are as whimsical as they are profound.

The Italian organist Marco Ruggeri offers in this CD a compilation of pieces by various author, chosen to enhance the acoustic qualities of the wonderful historical organ of the church of SS. Faustino and Giovita in Bienno. It dates back to around 1630. At that period Graziadio IV Antegnati (1608-1657) creates a 16-foot organ with an enharmonic keyboard with certainly 4 and possibly 5 broken keys for the Benedictine monks running the parish. In 1750 the instrument is restored; moreover, the organ choirs are replaced with others of a typically Baroque style while the organ case is preserved. Antegnati’s organ still exists in 1822 when the scholarly Giacomo Simoni sends one of the Serassi brothers to Bienno recommending that all recoverable Antegnati material must be preserved;yet no agreement is reached.

Affirmative Action is the latest album by Zachary James Watkins, released by Sige. This ambient masterpiece takes listeners on a journey through intricate soundscapes and ethereal melodies.

For Los Guayabo Brothers, we can say that they are one of those groups that approach of the heritage of Latin American/folk/Afro and world music, adding some of their own touch and an expressive step forward. In any case, it is not an easy task, but this team of musicians, whose performing energy is evident, expand expressive research in their own way, giving their music an authentic stamp.

Dustin Kensrue, singer-songwriter (and frontman of Thrice) has announced the upcoming release of his third solo album, Desert Dreaming, out April 5 via BMG. The album, an epic alt-country masterpiece, summoning the spirit of the American southwest, is flush with tremolo guitar and shuffling percussion that echo off canyon walls.

The enduring charm, contemporary relevance, and harmonic convergence of Crosby, Stills & Nash's fabled self-titled debut owe not only to impeccably played songs and resonant lyrics, but to career-defining performances by music's first genuine supergroup. Crosby, Stills & Nash lingers as an example of the whole being greater than the sum of its parts. Factor in phenomenal studio production and acoustic-based architecture that served as guideposts for myriad albums that followed, and popular music would never be the same.

Led by the songwriting and virtuoso musical duo of Walter Becker and Donald Fagen, Steely Dan released an extraordinary run of seven albums on ABC Records and MCA Records from 1972 through 1980. Filled with topline musicianship, clever and subversive wordplay, ironic humor, genius arrangements, and pop hits that outshone the Top 40 of its day, their records, which were as sophisticated and cerebral as they were inscrutable, were stylistically diverse, melding their love of jazz with rock, blues, and impeccable pop songcraft.

Mastered direct to DSD from the original master tape by Bernie Grundman.
Steely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

Returning after three years with their second studio album, Double Dog Dare, WHITE DOG have been revelling in a state of creative flux and are poised to share their revelations with the world. Formed in 2015 in Austin, Texas, White Dog began with a shared vision of blazing, fuzzed-out rock that drew gleefully from their home city’s rich cultural melting pot. Emboldened by an us-against-the-world gang mentality and inspired by everything from dusty roots rock to explosive old school prog, the band’s self-titled album emerged in 2021, courtesy of natural home Rise Above Records, and immediately stood out as a sophisticated, earthy and characterful new strain of retro rambunctiousness.

Record Store Day 2019 RSD Exclusive Release, quantity 7,500. Housed in a rough cardstock sleeve with punch-hole, title/tracklist stickers on both sides, with additional die-cut plain paper inner sleeve. Record Store Day-branded hype sticker on the shrinkwrap (catalog number 19075931221S3) with Columbia "Walking Eye" logo reads: "The original New York version of Blood on the Tracks Replica of the 1974 test pressing Featuring unique mixesAvailable for the first time ever".

The Dark Side of the Moon was a benchmark record. It turned the musical world on its ear with a hitherto unheard combination of sounds, and changed things considerably for Pink Floyd.

Recorded in Ed Chalpin Studios in New York July/August 1967.

Dutch gospel soul sensation Michelle David & The True-tones is celebrating a triumphant return after her 2022 work "Truth & Soul", which was named one of the albums of the year by BBC Radio 6.

Phantom Limb boss and musician James Vella - aka A Lily - with Saru l-Qamar, setting archival Maltese home recordings to new music for an album of nostalgic quasi-ambience and cross-generational dialogue.

Detroit blackened doom trio TEMPLE OF THE FUZZ WITCH just signed to Ripple Music for the release of their third full-length “Apotheosis” on April 5th. With riffs and lyrics as bleak and crushing as a Michigan winter, blackened doom outfit Temple of the Fuzz Witch brings a unique take on the doom genre, their unwaveringly nightmarish sonic processions being raised to another level with frontman Noah Bruner’s jaw-dropping balance of crypt-worthy growls and astoundingly grunge-styled clean vocals. Never the darkness has felt so magnificent and compelling, and their aptly-titled third album “Apotheosis” has everything to put the mighty trio on every black and doom metal fan’s radar for years to come.