Supreme is presented in its mono mix for the first time in over 50 years. Faithfully mastered from the original analog tapes by Ryan K. Smith, pressed on 180-gram vinyl at RTI and housed in a tip-on gatefold jacket. Experience the surprising impact of A Love Supreme in mono: immediate, intense, unforgettable. Featuring the Classic Quartet of pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones, A Love Supreme is one of the most honest, musical performances put to tape. Its beauty and appeal are timeless.

Recorded at EMI's Abbey Road Studios in 1967 during the final months of the original group's career, this British Psych-pop masterpiece yielded their last great hit 'Time Of The Season', but was destined for release after the Zombies had first broken up. It is the British pop group's all-time classic 'concept' album.

A new voice in contemporary improvisation emerges with the Trio of Bloom, uniting three visionary artists at the forefront of modern music: Craig Taborn (piano, electronics), Nels Cline (guitar, effects), and Marcus Gilmore (drums, percussion).

After keeping their faithful waiting seven years for new material, Orange County blackened metalcore mob Bleeding Through are back and as confident as they have ever been. Nine albums into their career (see what they did there?), they once again blend hardcore, metal, and gothic strains and in doing so unleash one of the strongest collections in their repertoire.
It works in their favour that they don't just deliver 11 versions of the same song, rather mixing things up. To this end, the likes of Gallows and Emery are ice-cold, yielding no space for human kindness, while Our Brand Is Chaos busts heads, and Dead, But So Alive is equal parts violent and anthemic…

Sun Triptych is the eagerly-awaited second ECM New Series album by British-Bulgarian composer Dobrinka Tabakova. The first, 2014’s String Paths, made an immediate impact, picking up a Grammy Nomination and superlative reviews, The Strad praising its “glowing tonal harmonies and grand, sweeping gestures,” while the Washington Times hailed it as an “exciting, deeply moving, original and triumphant” recording.

Wolfgang Muthspiel and his trio with Scott Colley on bass and Brian Blade on drums (“Together they have something of the empathy of the Bill Evans trio” – Downbeat) goes into its third recording-venture swinging, setting the stage for what may be the group’s most adventurous trio recording with a delicate reading of Keith Jarrett’s “Lisbon Stomp”. Throughout the album however, the Austrian guitarist and his American cohorts turn the spotlight towards Wolfgang’s captivating originals, touching on balladic lyricism (“Pradela”, “Traversia”), subtle folk infusions (“Strumming”, “Flight”), as well as oblique chamber jazz (“Weill You Wait”) and twangy rock and roll (“Roll”).

Maybe the only album we've ever seen from Henny Vonk - a jazz singer with a Dutch name, but a style here that's right up there with some of the hipper American singers of the period - especially those who know how to move on the hipper currents of the spectrum! At some level, Henny's got a way of stretching out her words while inflecting them, with a vibe that's reminiscent of Sheila Jordan - but overall, Vonk's maybe a straighter jazz singer, too - but one with a nicely sensitive vibe, as her vocals are balanced out with the introspective piano work of Rov Van Den Broeck. The rhythm duo adds a nice current of soul from time to time - with Clint Houston on bass and Billy Higgins on drums - and many cuts have new lyrics written for the album.

Octopus from Norway (don't be confused to countless bands with same name) was and is an obscure prog band gone unnoticed in prog circles. They released only one album in 1981 named Thaerie Wiighen (taken the name from a hero from literature of famous norwegian writer Henrik Ibsen). There is not much to find about this band or when they were disbanded. The music offered is pretty good all the way, symphonic prog with a nordic feel very similar in places with Bo Hansson releases , with some spacey moments here and there with an Eloy atmosphere, lots of instrumental sections aswell. Excellent are the keyboards passages very reminescent of Rick Wakeman or Genesis, some parts remind of Kerrs Pink. All in all a very solid album gone under the radar, definetly worth checking.