Between Daevid Allen's departure from the band and Pierre Moerlen's official takeover of the band, there is Shamal. This transitional album contains none of the Allen-inspired psychedelia, but also very little of Moerlen's jazz influence. Shamal is, for the most part, a progressive rock album, half vocal, half instrumental. Its most accessible tune, the opening "Wingful of Eyes," had the potential for airplay if only it hadn't been so lengthy. Penned by Mike Howlett, his not-so-great-but-appealing vocal style and lyrics will grow on you, given the opportunity. "Bambooji," mostly instrumental, opens with Didier Malherbe's flute, which at times gives this tune an Asian sound. Percussion and flute dominate and yield a Scottish feeling as well. "Mandrake" is the soft, laid-back piece on the album, followed by the closing title cut, a slight foreshadowing of the sound Pierre Moerlen and company assumed on the next several albums…

Collaborative effort from former Japan members Steve Jansen & Richard Barbieri (also known for Porcupine Tree) in which they join forces with ex-Spiritual Vibes techno DJ Nobukazu Takemura, creating a diverse array of tunes ranging from rock to drum 'n' bass & more!

Will Gregory is an award-winning multi-instrumentalist, composer, record producer and one half of the electro-pop duo Goldfrapp. He is also the founding member of Will Gregory’s Moog Ensemble, who last year released their debut album Heat Ray: The Archimedes Project. Lost In The Forest: Music from the RSC’s A Midsummer Night’s Dream is the music Gregory created for the RSC’s production of William Shakespeare’s A Midsummer Night’s Dream, which originally premiered in Stratford and then transferred to London, in late 2024, for a sold-out, five-star run at the Barbican.

Sturgill Simpson became the face of 21st century outlaw country, a self-styled maverick who didn't follow the rules of either modern or classic country. High Top Mountain, his 2013 debut, recalled the brawny swagger of Waylon Jennings, but by the time he released its sequel, Metamodern Sounds in Country Music, the following year, it was clear that Simpson wasn't limited to either country or Americana. The neo-psychedelic undertones within the title and music of Metamodern Sounds in Country Music only hinted at the stylistic ground the singer/songwriter would cover. A Sailor's Guide to Earth, an arty concept album from 2016, incorporated soul and symphonic pop in a manner so audacious it helped snare him a Grammy for Best Country Album in 2017, a win that solidified his position at the vanguard of Americana and roots rock.

The beauty of nature, landscapes, impressions from other countries and cultures inspire the music of Marcel Waldburger and Gabriel Meyer, two musicians trained in classical and jazz music. They attach great importance to authenticity and are conscious of their roots in Western Europe, in Switzerland. The duo draws on the wealth of tonal and percussive possibilities that arise from the interplay of guitar and piano. Their compositions, arranged with great imagination and attention to detail, provide the framework for improvisational journeys and sonic adventures.

NOW Music will next month head back to the 1970s to issue Yearbook ’76 as a 4CD set and 3LP coloured vinyl package. Those big tracks are only half the story, however, as you’ll also find songs Barry White, Frankie Valli and the Four Seasons, Demis Roussos, Brotherhood of Man, Showaddywaddy, Hot Chocolate, The Wurzels, Bay City Rollers, Eric Carmen, The Walker Brothers, Johnny Mathis, Neil Diamond, Joan Armatrading, Diana Ross, Daryl Hall & John Oates, Marvin Gaye and many more.

In 1961 Russian poet Yevgeny Yevtushenko published "Babi Yar", a reflection on the 1941 massacre of nearly 34,000 Jews at the Babi Yar ravine in Kiev (Kyiv), and a searing condemnation of Soviet condoned anti-Semitism. A long-time sympathiser towards the difficulties faced by Jews in Russia, Dmitri Shostakovich was determined to set the poetry to music. The result is his Symphony No 13—five movements for bass soloist, lower voice chorus, and full orchestra.

Music from the T'ang, Sung, Yuan and Ming Dynasties (600-1600) . Original release date was 1968 under the BBC Radio Enterprises label, REGL 1M, entitled "Chinese Classical Music". The liner notes in this CD version refer to a cover photo of a dish depicting a musician playing a lute, but clearly that is not the case with the CD release - the original 1968 release *does* have said dish on its front cover.

Sun Ra and His Arkestra at Inter Media Arts, April 1991 is a very good live date from late in the bandleader's career. At this point in 1991, Sun Ra had suffered a stroke. He was confined to a wheelchair and didn't sing any longer, but his keyboard skills and ability to lead the band seem undiminished. It's a typically wide-ranging set list with chestnuts from Ellington and Fletcher Henderson mixed in with space chants and other Arkestra fare. The band sounds fantastic, with John Gilmore getting solo spots not only on tenor but some nice clarinet as well and, as usual, Marshall Allen tears up "Prelude to a Kiss." The sound quality is excellent (this was originally a radio broadcast), as is the set list. It's a shame Ra was no longer able to speak and sing at this point, as that was always a special part of any Arkestra show, but this recording proves that he was absolutely driven musically up until the end. This isn't the place to start your Sun Ra collection, but it's a great set that fans are sure to enjoy.

THE CLASSIC 1985 BRIXTON BROADCAST• By the end of 1985, Pete Townshend had been off the road with The Who for three years. The pivotal British Rock band had done a farewell; tour in 1982, but had reformed for Live Aid in summer ’85. And despite pleas from both Roger Daltrey and John Entwistle to reform and tour again, the next proper Who reunion would have to wait until 1989. In the meantime, Townshend was determined to keep his solo career on track, which had been propelled by the success of radio hits like ‘Rough Boys,’ ‘Let My Love Open the Door,’ and ‘Slit Skirts.’n• The charity show featured on this CD took place at London’s Brixton Academy on 2nd November 1985, featuring Townshends legendary ‘Deep End’ band, with Pink Floyd guitarist David Gilmour, a crack rhythm section and The Kickhorns five-piece brass section, making a perfect complement to Townshend passionate vocals and manic guitar runs. The concert, which also aired on the King Biscuit Flower Hour in 1985, contains all 17 tracks played that night, including a few featuring Pink Floyd guitarist David Gilmour, and keyboardist John Rabbit Bundrick. Opening with a rare-Who B side (from the bands 1967 Sell Out LP), Townshend kicks off with ‘Mary Anne With the Shaky Hands’ a song that was banned on many radio stations when it was first released because it deals with the joys of young girlfriends willing to please their boyfriends with the use of a single hand.

Genesis had just released what was to become their best-selling album, Invisible Touch, a few months prior to this remarkable concert was performed at the Forum, in Los Angeles, on October 15th 1986. Having moved into a more pop-oriented direction in the early '80s, Genesis was now attracting even more new fans, particularly MTV viewers who enjoyed their sometimes a little silly, but often inventive videos. At the same time, they held onto a loyal fan base that stretched back to their days as an art rock band. • Riding this momentum, Genesis played five consecutive nights at the Forum in October of ‘86. This excellent recording was made on Wednesday, the third night of the run. There's a little tension early in the show when lead singer Phil Collins tells the crowd they'll be playing some new songs. Some members of the audience boo, though some applaud. Phil then says they may play a few old tunes as well, and the audience roars. This little dialogue tellingly reflects the conflict between the fans of the new poppier style, and those who preferred the older, more progressive rock sound. Both fan groups were there in full force at this show. • The band had an incredibly complex, colourful, and dynamic light show, featuring the most Vari-lites ever used in a lighting rig. Vari-lites are small lights that can change direction and colour very quickly, and Genesis was the first band to use them in 1981.

Although Filter's Title of Record was a creative step forward, Richard Patrick described the album's recording process as an exigent one, where everyone constantly butted heads. To the band's surprise, when they began working on The Amalgamut two years later, they encountered the exact opposite. The band, along with longtime producer Ben Grosse, felt the most open and creative they had in years. With two successful releases and two years of solid touring behind them, Filter allowed themselves the freedom to write and record new material at their own pace. After embarking on a cross-country road trip with his acoustic guitar and witnessing the September 11th terrorist attacks and Columbine High School shootings on television with the rest of America, Richard Patrick poured his inspiration into some of his most sincere and revealing material to date.

Quincy's Home Again is an album by Quincy Jones with performances by Harry Arnold's Orchestra. The album was recorded in Sweden in 1958 and released by Metronome label. The album was also released in the U.S. as Harry Arnold + Big Band + Quincy Jones = Jazz! by EmArcy. AllMusic gave the album four stars, calling it "an excellent effort featuring a hard-swinging Swedish band that deserved to be better known in the U.S".

Box Set includes Exclusive Mini Book, Photo Prints, Poster & Deluxe CD. Revival is the second solo studio album by American singer Selena Gomez. It was released on October 9, 2015, by Interscope and Polydor Records as a follow-up to Stars Dance (2013). It is her first album released under her new recording contract with the labels, after completing her contractual obligations with previous label, Hollywood Records, with the compilation album For You and the single "The Heart Wants What It Wants", in 2014. Gomez has cited artists such as Janet Jackson and Christina Aguilera as influences on the record, a pop and electronic dance music album with a tropical beach sound. Lyrically, the album discusses themes of love, heartbreak, and confidence. The album also features a guest appearance from American rapper ASAP Rocky and collaborations with producers such as Rock Mafia, Hit-Boy and Stargate. Revival received generally positive reviews from critics, who appreciated its overall production and Gomez's vocals.

When Eraserhead premiered in 1977, it didn’t just mark the beginning of David Lynch’s singular career—it rewired the language of underground cinema. A nightmarish journey through industrial decay, existential dread, and fractured identity, the film remains one of the most haunting works ever committed to celluloid. Shot in stark black and white, Eraserhead unfolds like a fever dream—where sound, space, and emotion bleed into one another in an uncanny, hypnotic dance. But what truly sets Eraserhead apart, even beyond its disquieting visuals, is its sound. David Lynch, working closely with sound designer and technician Alan Splet, constructed an aural landscape as vital and disturbing as any of the film’s images. The soundtrack is not built around traditional music, but rather an evolving tapestry of ambient industrial noise: distant hums, howling winds, metallic drones, mechanical grinding, and eerie silences that stretch time to its breaking point. Splet and Lynch manipulated everyday sounds—recording radiators, engines, air currents—to create a dense sonic fog that reflects the inner turbulence of the protagonist, Henry Spencer, and the collapsing world around him.