In the power metal tunnel of horror! ‘Ghosted’ is the album that definitely marks the new Trick Or Treat course, mixing classic power happy metal with terrifying yet entertaining horror atmospheres.

The award-winning ensemble Höör Barock is releasing a full album featuring the music of Antonio Vivaldi.

"Surfer Girl" is a song by American rock band the Beach Boys from their 1963 album Surfer Girl.

Eugene Ormandy (born Jenő Blau; November 18, 1899 – March 12, 1985) was a Hungarian-born American conductor and violinist, best known for his association with the Philadelphia Orchestra, as its music director.

Eugene Ormandy (born Jenő Blau; November 18, 1899 – March 12, 1985) was a Hungarian-born American conductor and violinist, best known for his association with the Philadelphia Orchestra, as its music director.

An amazing session of spiritual soul jazz – and one of the rarest albums on Strata East!

The Legend of Ochi. The album features the film’s original music composed by singer/songwriter David Longstreth (of the indie rock band Dirty Projectors) (Love Me).

Romane Serda announces the release of her 5th album "Sujet sensible", an intense and luminous opus, at the crossroads of introspection and raw emotion.

Nuova release "Retrospection" disponibile il 25 aprile!

Le retour du groupe phare avec un disque intime, poignant, et salutaire qui fera vibrer les fans de la première heure. Ce qu’on laisse derrière soi quand on a atteint la fin d’un cycle, qu’on aborde une nouvelle décennie. Quand on songe, aussi, à ce que l’on laissera d’éternel, d’insubmersible. C’est dans ces instants charnières, que chacun traverse dans une vie, qu’a été conçu le 5ème album de Cocoon. Signe d’une métamorphose, autant que d’une renaissance. Auteur, compositeur, réalisateur, Cocoon dévoile l’étendu de son talent : des textes poignants et des chansons très justement produites, enregistrées seul dans son studio.

Name-checked in the new Timothee Chalamet film A Complete Unknown as well as by Bob Dylan himself in the Martin Scorsese-directed film Rolling Thunder Revue, Jim Kweskin was a key figure in the 1960s folk revival, sharing bills with Janis Joplin and the Doors and playing Newport Folk Festival. NY Times said, "The rock historian Ed Ward went so far as to place the Kweskin Band alongside the Beatles, the Rolling Stones and the Byrds as that period's most influential groups." USA Today calls him a "superb finger-picking guitarist and dedicated explorer of the arcane." The Guardian called him "a masterful guitarist and storyteller."

This bedroom is making my eyes hurt just looking at it… I have been wanting to get into beach bunny for an ungodly amount of time, and I never got a chance to listen to an entire album of theirs. I've heard a lot of their big singles over the years, and I've enjoyed them quite a bit! I really like their very smooth and fun brand of indie pop and rock with some pretty strong choruses on some tracks, giving some strong power pop vibes a lot of the time. So given all that, I was curious to see what this album would be like, and to be honest, it's alright! It's nothing mind-blowing, and I definitely think there are many more artists pulling off this indie sound much better and with more personality, but regardless, it's still a fun time all around.

Sunflower Bean’s fourth album, and follow-up to their self-produced EP ‘Shake’, is their most accomplished work yet. A 10-song powerhouse that elegantly merges arena-rock, art pop, and new wave into a truly unfettered manifestation of their one-of-a-kind artistry. A record that bursts with vitality and vulnerability it both celebrates their history whilst hurtling towards their future. Mixed by Caesar Edmunds (The Killers, St Vincent) & engineered by Sarah Tudzin (Illuminati Hotties, boygenius).

Bloodless is the daring new full-length from beloved indie singer-songwriter Samia. Produced over 2024 with longtime collaborator Caleb Wright and Jake Luppen of Hippo Campus, it is the follow-up to 2023's breakthrough Honey, the Libera Award winning Best Pop Album of the Year. Mixed by Wright & Alex Farrar (MJ Lenderman, Indigo De Souza, Snail Mail). Music videos for all singles directed by Sarah Ritter (Frost Children, Cherry Glazzer, Surf Curse). Art direction by David Kramer (Low, Hippo Campus, PUMA). Will be paired with an extensive US headline tour, announcing in February. Thematically, the album is a study of womanhood, societal expectation, voyeurism via social media, and the identities we create for others.

For a band that seems to thrive on collapse, it’s simply amazing that this US/Japanese quartet is now celebrating their 31st year. Though Deerhoof long ago established itself as one of the greatest rock groups ever to stride the earth—and if you think that’s hyperbole, you haven’t spent enough time listening to Deerhoof —the furiously inventive quartet releases new albums on the schedule of a young band still hungry for its first break. As Noble and Godlike in Ruin reaffirms, each one discovers some previously unknown combination of candy-coated hard-rock riffs and free-jazz percussive freakouts, sideways J-pop hooks and fearsome dissonance, trenchant social commentary and surrealist humor. This music is joyful and foreboding, cybernetic and deeply human, carrying an implicit note of defiant optimism in their refusal to bow to convention or received wisdom. Fronting it all is Satomi Matsuzaki’s inimitable alto, whose plainspoken calm can seem strangely outside of the band’s maelstrom. Deerhoof is defined by such paradoxes.