Florence Price had an abiding love of literature, setting poets affiliated with the Harlem Renaissance as well as Byron and Robert Frost, among others. Her largest choral work is Abraham Lincoln Walks at Midnight, which sets a poem published in 1914 imagining Lincoln surveying the modern world with dismay. Its chorale-like passages and fugal finale, allied to her use of spirituals, gives the cantata a thoughtful, sometimes introspective grandeur. Song of Hope, which uses Price’s own text, is an emotionally intense supplication that also draws on spirituals. Charming smaller settings devoted to the natural world, and two sacred numbers, complete the album.

Haruka Kuroiwa is releasing an album titled "J.S. Bach: Two-Part Inventions, BWV 772-786" on August 7, 2025. The album will feature 17 tracks, totaling 36 minutes of music. The Two-Part Inventions, also known as the inventions, are a set of 15 short keyboard compositions by Johann Sebastian Bach. They are paired with a set of 15 three-part pieces called sinfonias. Bach arranged both sets by ascending key. The BWV (Bach-Werke-Verzeichnis) number, assigned by Wolfgang Schmieder, organizes Bach's works thematically.

Three works by three women composers from three different countries, each piece with its own original idiom, are performed here by the Ostrobothnian Chamber Orchestra under the direction of its dynamic conductor and artistic director Malin Broman.

Claudio Arrau (1903-1991) is a pianist fully deserving of the epithet 'legendary'. His rigorous intellect and sense of the sublime found expression in his transcendent technique and sumptuous, yet lucid sonorities. The recordings in the recently released 24CD collection - made for Columbia Graphophone, Electrola, HMV, Parlophone and Telefunken between 1921 and 1962 - represent a significant portion of his legacy and are indispensable to his extensive discography.

Thomas Anders' viertes Remake-Album der Modern Talking-Reihe ist »In The Middle Of Nowhere« und soll Anfang August 2025 erscheinen.

Canadian shoegazers No Joy release their long-awaited fifth album Bugland. Now the solo project of Jasamine White-Gluz, it’s their first new material for five years and also their debut for Sonic Cathedral.

Bugland finds Jasamine Gluz-White teaming up with producer Fire-Toolz (aka Angel Marcloid) to create the aural equivalent of a late-’80s i-D magazine front and back cover, with a non-problematic National Geographic hiding within. It was, at least in part, inspired by White-Gluz’s move to a more rustic area of Quebec, something which also explains the gap between albums.

“The wait wasn't intentional,” she explains, “but I think rural living made me tune out the noise of the music biz and focus more inwards, writing and taking my damn time.” The hook-up with Fire-Toolz was inspired. The renowned future fusionist adds not only magical co-production, but other sonic additions/dances/noises/mysticism.

“The collaboration really felt limitless,” she enthuses. “I could easily relate to it because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album.” Both spent days driving on empty rural highways listening to the mixes, and it reflects in the final product.

With an open ear, many “influence eggs” can be detected by the listener. ‘Garbage Dream House’ is Zooropian without any of U2’s ego baggage. Epic closing track ‘Jelly Meadow Bright’ even manages to meld the out of control saxophone from The Stooges’ Fun House with the chill buoyancy of a high-end spa.

Touching on respected, familiar genres and sounds while attempting to advance one’s own isn’t easy but Bugland manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is ‘yes’. What a lovely shelf it would be as well.

Bugland is a testament to White-Gluz’s evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease.

Award-winning Polish composer, Paweł Łukaszewski, is one of today’s most distinctive creators of contemporary sacred music. The Nocturnes for piano, based on some of his own sacred pieces, are inspired by the cosmos, with each nocturne named after a newly discovered bright star in constellations including Vela, Scorpius and the Southern Cross. Łukaszewski takes the listener on a journey through the beauty of the night sky with these intimate and atmospheric sound paintings.

Babymetal return with their powerful new album Metal Forth, a bold evolution of their genre-defying fusion of J-pop and heavy metal, including features from Poppy, Slaughter To Prevail, Tom Morello and Bloodywood. Following the conceptual depths of The Other One, Metal Forth signals a new chapter, blending thunderous riffs, soaring vocals, and high-energy choreography. Building on their global legacy this release reaffirms Babymetal’s status as pioneers pushing metal into the future.

This double LP was recorded on August 23, 1973 at the Fania All Stars legendary first concert at New York’s Yankee Stadium. Forty thousand fans poured into the stadium for an unforgettable night. The concert was repeated later that year at the Roberto Clemente Coliseum in Puerto Rico, resulting in two volumes that include music from both momentous nights, featuring Latin music’s most renowned artists, including Johnny Pacheco, Celia Cruz, Willie Colón, Héctor Lavoe and more.

Sydney artist Natalie Slade's debut album Control, co-written with Hiatus Kaiyote's Simon Mavin, is now followed-up with a second instalment of Australian future soul in Molasses, an album featuring a range of UK and Antipodean artists. Joined by The Dieyoungs on keys and Laneous on guitar, Natalie's songwriting and vocals are brought to the fore with excellent production by key Melbourne scene driver, Brisbane's Sampology and additional production from guest Dan Kye.

The 12 tracks on Abomination Revealed At Last are a hypnotic, maniacal, and propulsive attack on the senses–a fitting reaction to a world suffering from genocide, environmental collapse, state sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez and John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums).

Mozart’s melodic inspiration was unceasing and permeated even his most private and intimate pieces. The acclaimed arranger, pianist and conductor, Peter Breiner, has selected across the range of Mozart’s compositions – including popular works from the symphonic, concerto and choral canon, as well as lesser-known works – to create an album of the composer’s greatest melodies arranged for piano.

Antonio Soler enjoyed high prestige at Spain’s royal palace, the Escorial, where his contributions to keyboard technique, harmonic innovation and his Spanish musical identity served to bridge the stylistic gap between the late Baroque and early Classicism. Soler’s innovations have often been overlooked but the intricate modulations and rhythmic vitality found in his sonatas offer compelling evidence of their importance. Sonatas Nos. 99–111 offer a wealth of entrancing features, which include sophisticated ornamentation, a synthesis of contrapuntal and Iberian folkloric traditions, and humorous cadences.

Tchaikovsky’s gift for writing music of indelible beauty and emotive power has ensured he remains central to the repertoire. The acclaimed arranger, pianist and conductor, Peter Breiner, has selected from across the range of Tchaikovsky’s compositions, including the symphonies, songs, opera and ballet, and chamber works, to create an album of the composer’s greatest melodies arranged for piano.

Golden Lady is the bold new release from the Colorado Jazz Repertory Orchestra (CJRO), a genre-blending celebration of jazz, gospel, and modern R&B. Featuring powerhouse vocalist Tatiana "LadyMay" Mayfield, this electrifying album reimagines Stevie Wonder's Golden Lady and Jill Scott's Golden in a soulful mashup that sets the tone for the entire project.Brimming with groove-forward arrangements and original compositions, Golden Lady highlights the artistry of Black women songwriters and showcases the vibrant talent of the CJRO's full jazz orchestra.