Lana Del Rey knows perfectly well her Lust for Life sounds sleepy in comparison to Iggy Pop's full-blooded roar, but that doesn't mean the title of her fourth album is ironic. Compared to her previous albums, especially its somnolent 2015 predecessor, Honeymoon, Lust for Life is positively ebullient in tone, if not in tempo. Lana Del Rey may sing about a "Summer Bummer" but the song isn't in sway to a narcotic undertow; it simmers, offering a cool bit of seduction for muggy August nights. LDR retains this delicate balance throughout the lengthy Lust for Life (at 71 minutes, this is an album as playlist, designed to be looped over and over as mood music), never quite succumbing to either despair or ecstasy but rather finding a place where there's no separation between the two emotions.

Time traveler Alvin Youngblood Hart's albums have darted from crusty Delta fingerpicking and hollering to Hendrixian hellfire to crunchy, primal rockin' blues, all with the ring of authority that comes from complete commitment to the music. This time, he's set the wayback machine to the early '30s, using guitars, mandolin, banjo, and a lot of heart to interpret tunes by Son House, Charley Patton, Skip James, Leadbelly, and others. Somehow, the dust of old Mississippi, the state where the Oakland-born musician now resides, seems to have gotten into his blood. Hart sounds like Parchman Farm's newest inmate as he wails and moans through "How Long Before I Can Change My Clothes," plucking notes from a National resonator guitar. Chiming out chords and quick runs on banjo, he makes Odetta's "Chilly Winds" seem like they're carrying the voices of lost ghosts, recounting their lives of misery under Jim Crow's wing. Hart tends to take many of these classics, like Patton's "Tom Rushen Blues" and Leadbelly's "Alberta," at slightly slower tempos, which gives him more time to squeeze gut emotions from his lightly graveled phrases and lets his pluck-and-drone playing work its hypnotic effect. Stark and impressive for the power Hart generates alone, this may be the acoustic blues album of the year.

David Lowery (Cracker, Camper Van Beethoven) to release his new 28-track solo album "Fathers, Sons and Brothers". "Fathers, Sons and Brothers" is David's musical autobiography, celebrating his youth, family, friends and the highs and lows of his lengthy 40-year career in the music business. The album combines three of David's previously online-only released autobiographical solo albums In The Shadow of the Bull, Leaving Key Member Clause, and Vending Machine, and also includes four new previously unreleased songs, as well as four newly re-recorded tracks He's been writing songs about people on the fringe for damn near a lifetime. 40+ years of detailing the idiosyncrasies of outcasts, losers, freaks and outliers in society in his two acclaimed, if not totally different, bands - Cracker and Camper Van Beethoven. Lowery lets his memory, and pen, traverse back to some of his earliest memories as a child in an English seaside town ("Frozen Sea").

Wagram Music Presents Tubes 80 Tous les hits des annees 80 album original hits and the original artists genre Pop.

Black Moth Super Rainbow Return with New Album 'Soft New Magic Dream' TOBACCO offshoot Black Moth Super Rainbow have announced their first new full-length album since 2018's Panic Blooms. Soft New Magic Dream arrives June 6 via Rad Cult. Today, the group preview the effort with new single "Open the Fucking Fantasy," which delivers more of the band's expected fuzzy synths and vocoder vocals. It's the latest taste of the album following last year's single "All 2 of Us."

Released by a catalog division of Warner, Satisfaction Guaranteed: The Very Best of Teddy Pendergrass is a nice, if flawed, two-disc anthology that covers the singer's time with Harold Melvin & the Blue Notes and his solo albums through 1991's Truly Blessed. It contains the Blue Notes hits "If You Don't Know Me by Now," "The Love I Lost," and "Wake Up Everybody," but neither "I Miss You" nor "Bad Luck." Solo-wise, most of the essential singles are here, including the Top Ten R&B hits "I Don't Love You Anymore," "Close the Door," and "Love T.K.O.," among others. "Two Hearts," his hit duet with Stephanie Mills, is smartly included as well.

"Next to Normal is of real value to anyone who cares about the direction and possibilities of the American musical." - Ben Brantley, The New York Times A supercharged ride from the opening number to the final seconds, Next to Normal is an emotional roller coaster that takes you from the highest highs to the lowest lows. With a rocking score and exhilarating performances by Broadway's hottest stars, you cannot escape the power of this bold new musical.

Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players, and without him, modern guitar music would not sound as it does – his style has influenced blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. From the beginning, King had his own style and unique tone. He played left-handed, without re-stringing the guitar from the right-handed setup; this "upside-down" playing accounts for his difference in his sound, since he pulls down on the same strings that most players push up on when bending the blues notes. His first album for Stax, the 1967 singles collection Born Under a Bad Sign, became one of the most popular and influential blues albums of the late '60s. King's massive tone and unique way of squeezing bends out of a guitar string enormously impacted followers, especially in rock & roll, where many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he holds the status of one of the most important blues guitarists to ever pick up the electric guitar.

"Rosamunde" is, simply ravishing, one exquisite melody after another, and this performance and recording do it full justice. It well deserves pride-of-place in the collection of any classical music lover.

Cappella Amsterdam does not just sing music that charms and captivates, but does this at the highest possible level. For its performances, the choir has received many prizes and a stream of positive reviews. Cappella Amsterdam offers the classical choir repertoire in all its glory and dedicates itself, every single year, to bring to you the most beautiful and important choral pieces, both old and new. Daniel Reuss is the artistic director of Cappella Amsterdam. Under his guidance the choir has professionalised and risen to international fame.

If, as Liszt himself dubbed it, Hexaméron is ‘a monster’, it’s a monster which certainly holds no terrors for Marc-André Hamelin, and the encounter between them makes for some thrilling pianism. The remainder of the recital—high-octane transformations of nineteenth-century operatic favourites—is every bit as electrifying, from a musician who never ceases to astonish whatever the repertoire.

Epic's The Essential Stevie Ray Vaughan and Double Trouble gathers two discs' worth of the late blues guitarist's work, including many live performances and a few tracks with the Vaughan Brothers. The collection presents Vaughan's material in roughly chronological order, from the 1980 live recording "Shake for Me" to 1989's "Life by the Drop." It also touches on most of Vaughan's definitive songs and performances, including "Tightrope," "Wall of Denial," "Couldn't Stand the Weather," and "Cold Shot," and live versions of "The Sky Is Crying," "Superstition," and "Rude Mood/Hide Away." Though this album doesn't offer anything that hasn't already been released in some form or another, it does go into slightly more depth than several of the other Stevie Ray Vaughan retrospectives by presenting both his greatest studio hits and some of his best live work.

Rock & roll exploded in the '50s onto a cultural landscape that was so uptight and repressed as to be unrecognizable today, even to those who lived through it. Everything – from the clothes young people wore to the music they listened to to the money they spent – was a hard-fought statement, because no youth group before those '50s teenagers ever had that kind of freedom and did something with it. Pop music was bland, bland, bland (just like it is now) and the bigger and badder and bolder rock & roll became, the more of a threat it was to the status-quo squares who banned it every chance they got. You couldn't listen to it, you couldn't dance to it at your school, concerts in public places were banned, and artists were often jailed for performing it in public.

Colorful expanded action score from James Horner! Wildly successful fantasy adventure franchise from the mind of author-illustrator Chris Van Allsburg has its beginnings with this 1995 hit! Robin Williams headlines the cast, Kirsten Dunst, Bonnie Hunt, Jonathan Hyde, Bebe Neuwirth also feature. Joe Johnston directs, Tristar Pictures presents, James Horner scores. It begins with a game, players make their moves, the pieces snap into place… and incredible adventures result. Giant mosquitos, wild monkeys, animals on the rampage, man-eating plants all become real! Buried within is moving tale of boy lost inside from years past, now freed in the present. Home, father and son relationships, love all play emotional roles amidst wild excitement. Matching note for note is florid, exciting symphonic score from James Horner. Mysterious ideas suddenly become frantic, action-filled romps, gentle moments become thundering musical outbursts. Highlights are abundant: “Monkey Mayhem” brings wild orchestral frenzy to the fore while “Mosquito In Car” brings in giant insect on the musical attack.

There's a very telling moment in Yeule's "Eko," the sweetest-sounding song you've ever heard about obsession. Disguised as a perfect little dance-riffic candy shell with hype-pop touches and disco bass, it details "a living, breathing unreal being who lives inside my head." But the bitter inside is revealed after the singer and producer coos, "Inside my head/ Oh she echoes in my …" Suddenly there's a scream, muffled low in the mix and sounding like torture. Who is that? Yeule, who uses them/they pronouns, is such a Gen Z digital native it's hard to know if they would even exist without the internet.