Revolution is the eighth studio album by German gothic metal band Crematory. It was released on 3 May 2004 through German record label Nuclear Blast. The album was their first release after the band's three year dissolution.

From A Basement On The Hill, Elliott Smith’s final studio album, was originally released posthumously in 2004.

The Süddeutsche Zeitung calls soprano Henrike Legner a promise – and now she presents her debut album on the GENUIN label. In doing so, she offers us an extraordinary, Romantic lied repertoire whose small treasures never fail to astonish: selected lieder by Felix Mendelssohn, including the finest from his estate, are brought together on this album. Brilliantly accompanied by pianist Gerold Huber, Henrike Legner’s clear and expressive voice sings us two dozen beautiful discoveries straight into the heart, with magical power!

Dona nobis pacem (Latin for "Grant us peace") is a phrase in the Agnus Dei section of the mass. The phrase, in isolation, has been appropriated for a number of musical works.

"Silver Dagger", with variants such as "Katy Dear", "Molly Dear", "The Green Fields and Meadows", "Awake, Awake, Ye Drowsy Sleepers" and others (Laws M4 & G21, Roud 2260 & 2261), is an American folk ballad, whose origins lie possibly in Britain.

Slayer took the leap to the big leagues with this, in the same way Metallica, Megadeth and Anthrax all did with their second albums.

Don’t let the title fool you, this record can be played all year round! Spooky Jazz Vol 2 showcases a variety of haunted flavors all the way from enchanting blues and mesmerizing foxtrots, to songs that swing so hard they’ll wake the dead! Every song it’s guaranteed to put you in the spooky spirit no matter the time of year.

‘Returning Tides Vol 2′ charts the solo electronic music of David Wright from 2005 to 2022.

Discovering a virtuoso first album by Vincent Mussat.

Sol Gabetta's new "Mendelssohn" album with pianist Bertrand Chamayou will be released by Sony Classical on January 19th.

Don't Worry, It's Forever is an in-time description of love amidst loss, how it feels to straddle generations and contemplate the remains of identity as time moves on. Raw, direct and personal, this is Sister John at their finest.

Squeaky Feet is not your average jam band. Known for their complex compositions and improv-fueled live shows, the Denver-based quintet merges the raw power of progressive heavy metal with infectious dance grooves, a keen melodic sensibility, and virtuosic musicianship—a formula that finds full expression on their new album, Overview Effect.

Across the album, Talking Machine is a combination between huge pounding rockers fused with quieter moments of reflection. The band’s trademark brand of unrelenting riffs, slick surf, and finely tuned song craft are all still in place, but there’s an added refinement to the messaging in these tracks that expands on what has come before. Bell’s love of classic songwriting from Bob Dylan to Elliott Smith via Big Star’s Alex Chilton is well documented, and that education in, and homage to, the finer arts continues on the new record.

Most Western music—and a lot of non-Western music, too—is rhythmically organized into groups of two, three or four beats each. You get one strong beat and a couple of weaker ones to follow it and your body understands intuitively how to respond. Start messing with fives and sevens and elevens and so forth and you’re into trickier territory. The gravitational simplicity of the smaller numbers is so strong that five is easily pulled into three and two; seven into four and three. You’re constantly switching between two different possibilities for the way the music could feel, like a room whose color quietly shifts each time you walk in anew. It can be difficult to get into a flow, because it keeps getting interrupted as soon as it begins.

The Flemish Music Heritage series is a journey of discovery, reviving remarkable pieces of musical heritage. Forgotten scores are brought to light, and familiar compositions are given a fresh perspective. In close collaboration with the Study Centre for Flemish Music, the recordings are founded on intensive research in libraries and archives and meticulously prepared score editions.​