Frankie Laine was an American singer and songwriter whose career spanned nearly 75 years, from his first concerts in 1930 with a marathon dance company to his final performance of "That's My Desire" in 2005. Often billed as "America's Number One Song Stylist", his other nicknames include "Mr. Rhythm", "Old Leather Lungs", and "Mr. Steel Tonsils". His hits included "That's My Desire", "That Lucky Old Sun", "Mule Train", "Jezebel", "High Noon", "I Believe", "Hey Joe!", "The Kid's Last Fight", "Cool Water", "Rawhide", and "You Gave Me a Mountain".

1969: The Velvet Underground Live is a live album by the Velvet Underground. It was originally released as a double album in September 1974 by Mercury Records. The September 1988 CD re-release was issued as two separate single CD volumes, with one extra track per disc. Since many of the band's studio albums were out of print in the United States from the early 1970s through the mid-1980s, 1969 was one of the more popular albums by the band, and is a fan favorite. Spin magazine's Alternative Record Guide included it in the top 100 alternative albums of all time in 1995.

Arthur Honegger’s song output falls into two distinct periods. The first spans his apprentice years from 1914 – the date of the first of the 4 Poèmes H.7 – to 1924. He returned to art song on the eve of the Second World War, and Eleni-Lydia Stamellou sings two further sets of songs originally conceived as film accompaniments.

World premiere recordings of beguiling flute sonatas written on the cusp of the early-Romantic era in Germany.

A fully female project by the duo Maria Concetta Annese (violin) and Yi Ling Wu (piano), featuring six composers.

Wlodek Gulgowski’s music won’t leave you indifferent. He offers many starting points for your perceptual associations and references. It is very rich artistically, pianistically and emotionally After musical studies he dedicated himself to improvisation and jazz, highly accredited in the jazz-fusion, with many succesful and influential albums, his works remained to be consistently influenced by classical music. It is clearly expressed on the truck nr 2 ”AFROVIBES”, where the rhythm is gradually finding it`s place in between the subtle and romantic piano lines It calms down for a while to give place for sonoric and picturesque.

Smooth sizzling synthesizers, disparate delicate drums, bulbous boomy bass lines. On top: saxophone melodies like wafts of fog, fragile trumpet tones, fluffy shimmering flutes and crisp, rattling bass clarinets. Modular Music Machines manipulate melodies, vary timbres, generate rhythms and create sounds. Music for humans, machines and participants. Whether it's beaty experimental disco, meditative sound baths or spiritual jazz prayers: everything that's fun is allowed here.

For her sixth Linn recording KUNIKO has chosen to pay a personal tribute to one of Japan’s most celebrated post-war composers: Akira Miyoshi (1933–2013). Showcasing Miyoshi’s marimba works from the last four decades of the twentieth century, this recording represents a reference collection commemorating the composer’s significant contribution to this repertoire. Solo marimba works include the Conversation Suite, Torse III, Ripple and the unpublished Six Prelude Etudes, the last piece for marimba that Miyoshi composed. The inclusion of Miyoshi’s Concerto for marimba and string ensemble inspired an exciting collaboration between KUNIKO and Scottish Ensemble.

KUNIKO's eagerly awaited second album includes world premiere recordings of the percussionist's new arrangements of popular works by contemporary composers Arvo Pärt, Steve Reich and Hywel Davies.

KUNIKO’s fifth studio recording sees the hugely talented percussionist return to the music of Steve Reich, a composer she has championed since her debut recording in 2011. In Drumming KUNIKO delivers a tour-de-force performance of the work which is widely considered minimalism’s first masterpiece. Performing all thirteen parts herself, and adopting the same multi-track approach which was so successful on kuniko plays reich, KUNIKO once again displays the technical virtuosity and flawless musicianship for which she is renowned.

The Japanese percussionist turns to the cello suites and violin sonatas of J.S. Bach for her fourth studio recording with Linn.

Following the tremendous success of her 2011 album Kuniko Plays Reich, and subsequent recordings of works by the pioneering composer, percussionist Kuniko has established a reputation as one of the foremost interpreters of Steve Reich. Here she has recorded Kuniko Plays Reich II, a bold programme of innovative works which span Reich's artistic career and showcase some of his groundbreaking techniques. Composed in his early thirties, Piano Phase is performed in Kuniko's own mesmerising arrangement for two vibraphones; characteristically Kuniko plays both parts. While Nagoya Marimbas uses some composition tools which Reich popularised in Piano Phase, Four Organs draws its inspiration from the Middle Ages. Closing this riveting recital, Mallet Quartet sees Reich in a more melodically expansive mood, albeit with his trademark tight rhythmic drive and canonic textures.

Living in this famous Tiny House from the acclaimed youtube channel Tiny House Giant Journey, Emily McVicker records some fresh new songs combined with some suitable fan favorites in this 165 sq. ft. house.

The genre-defying trio KOMARA returns with KOMARA II, a powerful new release that pushes sound boundaries and challenges musical convention. Featuring King Crimson drummer Pat Mastelotto, avant-garde guitarist David Kollar, and visionary trumpeter Paolo Raineri, the album blends ambient textures, industrial grit, and jazz-infused improvisation into a haunting, cinematic experience.

Halloween, a French progressive rock band that emerged at the dawn of the 1980's, released no less than five albums in fifteen years before taking a break shortly after the start of the new millennium. But in 2020, with the pandemic, another virus - that of progressive rock - took over, and the machine was relaunched, culminating in the year 2025 with the release of “Psy-Ko”, a title the band justifies by saying “because the personas that populate the songs are rather disturbed from a Psy point of view, perhaps as much so as the musicians in the band”.