"The Doraemons - In the Court of the Crimson King (2025)" is a recent album released by the artist "The Doraemons" on October 20, 2025. It is a 42-minute, 5-song album that includes tracks like "21st Century Schizoid Man" and "The Court Of The Crimson King". The title is a reference to the 1969 album by the progressive rock band King Crimson.

One could easily characterize Vancouver-based keyboardist and composer Noah Franche-Nolan as a restless artist. Fortunately, both for him and for audiences, his deep penchant for roving exploration is matched by his keen-eared versatility.

Break what breaks you: Just a few months after the spectacular relaunch of “I Just Wanna Be A Sound”, Berlin's rock royalty Kadavar are back with K.A.D.A.V.A.R. - a kind of second debut album. On it, the band combines the riff-lust of their early days with the creativity of the new four-piece constellation. And can happily report: The fun of music is back for good.

With this album, Trio Fibonacci takes us on a journey through the meditative and deeply human universe of Ludovico Einaudi, a master of contemporary minimalism. His works, built around repetitive motifs and subtle harmonic variations, open up a space for contemplation and pure emotion. Many of the pieces presented here have been specially adapted by Trio Fibonacci for duo or trio, bringing new vibrancy and emotional depth to the music while remaining true to the spirit of the composer.

The third collaboration between mezzo-soprano Olivia Vermeulen and Jan Philip Schulze (piano/synthesizer), In Heaven follows their earlier themed albums Dirty Minds and Hello Darkness, albums which were highly rated and won for instance an Edison Award and a Preis der Deutschen Schallplattenkritik. While the first two albums explored earthly themes of eroticism and mortality, this programme turns upward toward the heavens. The concept imagines a cosmic odyssey, blending art song, contemporary music, pop, and psychedelic classics into a voyage through utopian visions, distant planets, and the eternal human fascination with space. Interspersed with NASA sound recordings, the album situates the listener between heaven and earth, fantasy and reality, intoxication and transcendence.

In 1735, Porpora challenged Handel in London with Polifemo, a work that still resonates today as a vibrant ode to triumphant love. On the bewitching shores of Sicily, Galatea falls in love with the mortal Acis.

After falling in love with the quartets of Britten and Bartók, we developed a long-standing desire to record these masterpieces. For our debut CD Longing we chose their first quartets, as well as Webern’s first string quartet work Langsamer Satz. All three remarkable works resonate with a profound and unmistakable sense of longing. We felt a sense of kinship with these composers as they, like us, were still discovering their distinct style and identity when creating these works.

Joseph Haydn often said that he had enjoyed an “exem­plary destiny”: starting from nothing, he became one of the most celebrated composers of his time. He was born in Rohrau, some fifty kilometres east of Vienna, into a relatively modest family – his father was a wheelwright, a recognised and respected mas­ter craftsman.

For Jakob’s Mirror, composer and saxophonist Robin Verheyen (b. 1983) sought inspiration far from home, retreating to the Albers Foundation in Connecticut to reflect on the life and work of painter Jakob Smits (1855–1928). Smits, who settled in the Belgian Campine and captured its light and landscapes in a personal, timeless style, became a guide for Verheyen’s own exploration of identity, memory, and belonging.

British-Australian jazz vocalist Hetty Kate begins "Jazz in Four Seasons," an ambitious four-album series: four albums, four seasons, four cities. The first volume, "Spring" was recorded in Prague with four of the city's finest jazz musicians, blending timeless standards from Ellington to Brubeck with the distinctive voice of Czech artistry.

Judy Bailey was a pioneering force in Australian jazz, a brilliant composer and pianist, and a passionate educator whose influence shaped generations of musicians. This album, from pianist Lauren Tsamouras and trumpeter Tom Avgenicos, is a loving tribute to one of Australia's most important performers and composers.

The Dears have made some of the most beautiful music of the past quarter century, but also some of the most defiant, with an attitude and emphasis that seems to blend the operatic with a punk sensibility. On their new album, Life Is Beautiful! Life Is Beautiful! Life Is Beautiful!, The Dears are again at the top of their form, coming back with passionate, compassionate, urgent music that uplifts, explores dark corners, and ultimately shines out in a way that's absolutely gorgeous, with an edge. ""Life Is Beautiful! Life Is Beautiful! Life is Beautiful!" feels like a new masterpiece and provides further evidence that The Dears are a vital part of the musical landscape, and also just completely doing their own thing, as ever."

Ferruccio Busoni counted Johannes Brahms - alongside Alkan, Chopin, Liszt, and Schumann - among the five greatest composers of piano music after Beethoven. This assessment still holds true today: Brahms' piano works remain an essential part of the core repertoire for all pianists of stature. With her new Brahms anthology, Jimin Oh-Havenith continues the path set by her acclaimed recordings of the piano music of Robert Schumann - Brahms' mentor and devoted admi-rer. This album focuses on variations and character pieces, two genres to which Brahms turned with increasing intensity after composing his three early piano sonatas.

This inaugural title features an unreleased live recording by one of the true legends of jazz history—The Sophisticated Giant, tenor saxophone master Dexter Gordon, performing with his early-’80s quartet: Kirk Lightsey on piano, David Eubanks on bass, and Edward Gladden on drums. The concert was recorded in Genoa, Italy, in 1981, at Villa Imperiale, during the Festival Estate Jazz 81.

The first time Margarita Höhenrieder heard the Finnish pianist Antti Siirala, she was a member of the jury for the International Beethoven Competition in Vienna in May 1997. Many years later, Antti Siirala was appointed Professor for Piano at the University of Music and Theatre Munich – a happy coincidence that gave both the opportunity to make music together. The very first time they played together, we sensed a special musical relationship: a similar ideal of sound and a very deliberate way of listening to one another.