Get ready to experience the magic of "LOVE", the stunning new studio album from Swedish prog-rock legends The Flower Kings! It marks their 17th studio album in an extraordinary career spanning over 30 years. On "LOVE", The Flower Kings deliver over 70 minutes of sonic exploration across 12 tracks, ranging from sprawling 12-minute epics to concise 3-minute gems. The album weaves common themes into a cohesive whole, best experienced as a single, immersive journey. Listeners will recognize the band’s signature balance: accessible melodies paired with moments of experimental flair, wild guitar solos, and virtuosic synth work reminiscent of their earliest records. With renewed confidence and creativity, The Flower Kings prove once again why they remain the royalty of progressive rock.

One of Anita's strongest for Verve - featuring backing by a few different groups. One features Ralph Burns on piano and arrangments, leading a septet that includes Bill Harris, Cecil Payne, and Roy Eldridge - on the tracks "Rock N Roll Blues", "Love For Sale", "Lover Come Back To Me", and "Lullaby Of The Leaves". Next up is Roy Kral, playing piano and arranging a quintet that includes Earl Backus on guitar and Jim Wilson on bongos - on tracks that include "No Soap, No Hope Blues", "Strawberry Moon", and "Speak Low". The last four tracks feature arrangements by Larry Russell - and they include "Pagan Love Song" and "Somebody's Crying".

On Land represented a significant move away from the strategies Brian Eno had employed in earlier ambient releases such as Discreet Music and Music for Airports. Instead of using a specific process to generate music with minimal interference from the composer, he here opts for a more gestural and intuitive approach, creating dreamy pictures of some specific geographical points or evocative memories of them. It's quite easy to imagine these works as soundtracks to mysterious footage of imprecisely glimpsed landscapes. On Land is an album that would become highly influential with the rising tide of new age composers, though few if any would capture the chilly beauty or latent romanticism that is part and parcel of Eno…

The untitled fourth studio album by the English rock band Led Zeppelin, commonly known as Led Zeppelin IV, was released on 8 November 1971 by Atlantic Records. Produced by guitarist Jimmy Page, it was recorded between December 1970 and March 1971 at several locations, most prominently the Victorian house Headley Grange. Led Zeppelin IV was a commercial and critical success, featuring many of the band's best-known songs, including "Black Dog", "Rock and Roll", "Going to California" and "Stairway to Heaven". The album is one of the best-selling albums of all time with more than 37 million copies sold. It is tied for third highest-certified album in the United States at 23x platinum. Writers and critics have regularly cited it on lists of the greatest albums of all time.

First formed under the name Le Point, this trio from Bison changed their name, because there was another group using it. Two members of Travelling had played previously in Introversion, before joining forces in this trio that made one sole album released on the now legendary (and ultra collectible) Futura record label. One can easily detect the Canterbury influence of this KB-led trio reminding you of distant French cousins Moving Gelatine Plates, and some allusions to Soft Machine, most notably to the singer's voice that will remind you of Robert Wyatt and his fuzzed-out Ratledge-like organs. They can also sound like Egg, but the composition are not quite that complex and are listener-friendly.

"I feel like 'Home' is a second part of the same book, that the start was in 'Esja', a musical prelude to a real plot. I feel Home is a story with an ending, so the next book can tell a totally different one. I am constantly looking for new ways of expression. I am curious where 'Home' will lead me and my music". — Hania Rani

We are super proud to announce ‘Ghosts’, showcasing the sound of an ever-evolving artist who passes repeatedly and gracefully between musical worlds: as composer, singer, songwriter, and producer. This album builds on Rani’s earlier successes ‘Esja’ and ‘Home’ with an expanded yet still minimal setup of piano, keyboards, synths and foregrounds her mysterious, bewitching voice. Ghosts is also an album of collaborations as Rani is joined by Patrick Watson, who breathes unearthly life into the ethereal ‘Dancing with Ghosts’. ‘Whispering House’ written and recorded with her friend Ólafur Arnalds, casts a peaceful, ineluctable spell; and Portico Quartet’s Duncan Bellamy contributes vital loops to ‘Don’t Break My Heart’ and ‘Thin Line’.

Inner Symphonies is entirely written and performed by Hania and Dobrawa, and recorded in Szczecin’s Philharmonic Hall. ‘It really comes from our two very close but very different worlds,’ explains Hania. ‘Inner means something little, private, intimate, while the symphonic means something huge. It’s a new adventure for us.’

Al Di Meola's "Twentyfour," is a testament to creativity. Conceived during the tumultuous times of the pandemic, what started as a simple acoustic project evolved into something much grander. Al's initial intention to craft a reflective acoustic album on the challenges of the time expanded exponentially as he found himself unable to resist the allure of boundless musical exploration.

The last of Quicksilver's albums before they broke up is a disappointment, and a real poser for all but the most dedicated fans. The songwriting was getting thin by this time, as indicated by the presence of numbers like "Chicken," a traditional piece arranged by Dino Valenti, which is little more than four minutes of wasted time on a 36-minute record. This track, and Valenti's promising but ultimately disappointing "Changes," were a sure sign that the band was delivering an album, but nothing more than that, as a way of fulfilling a contract; it's even hard to visualize the group doing this material on-stage. The presence of trumpets, trombones, and saxes is also a problem, because they make Quicksilver sound more like Blood, Sweat & Tears than themselves, and Valenti wasn't David Clayton-Thomas…