The Howling Void presents itself to listeners with a new brilliant album that pushes the boundaries of the band's universe. On one hand, it is a return to the boundless soundscapes of the early albums that introduced everyone to their unique vision of funeral doom metal. On the other hand, it is an evolution of the music within the mysterious mythos of The Howling Void. Epic guitar riffs, accompanied by atmospheric keyboards, resonate timelessly, touching on philosophical questions of metaphysics in the lyrics. "The Glow Of A Distant Fire" is a journey into one's inner world, into the microcosm. It is an album without which the picture of the modern heavy scene cannot be complete.

Tom Waits' first two albums, 1973's Closing Time and 1974's The Heart of Saturday Night, documented his estimable strengths as a songwriter, but they didn't always give much of a sense of the personality that came through in his live performances. In front of an audience, Waits transformed himself into something resembling a minor character from a Jack Kerouac novel, a witty but bedraggled hipster from the seedy side of Los Angeles. His third album, 1975's Nighthawks at the Diner, was designed to show off Waits as an entertainer as well as a tunesmith; producer Bones Howe set up a nightclub facsimile in a recording studio, paired Waits with a solid band of jazz-inclined studio musicians, brought in an audience, and recorded what was in essence his first live album…

Bad Reputation is the eighth studio album by the Irish rock band Thin Lizzy, released in 1977. As the front cover suggests, most of the tracks feature only three-quarters of the band, with guitarist Brian Robertson only credited on three tracks. He had missed most of their previous tour, following a hand injury sustained in a brawl, and this album turned out to be his last studio effort with Thin Lizzy. Bad Reputation reached No. 4 in the UK Albums Chart.

This is probably the most significant recording by Polish trumpeter virtuoso/composer Tomasz Stanko, surely at least among his Polish recordings before his later ECM period. Following Mile Davis, Stanko switched to Jazz-Rock Fusion (albeit a decade later) and his 1980s output with his Freelectronic ensemble is radically different from the Free Jazz he played in the 1970s. This double album consists of one studio recording and one live recording, both expressing Stanko's power as a performer and a composer to the max. The studio album, which was compiled over a period of two years, presents music composed by Stanko at the period when he was experimenting with hallucinogens and was deeply influenced by the writings of the Polish mystic / philosopher / avant-garde artist Witkacy (Stanislaw Ignacy Witkiewicz), who was also an early experimenter with drugs…

Welcome to Long Beach 1971, the latest album in earMUSIC's Deep Purple reissue series that, over the last two years, has seen the release of rare live material from the band. It was recorded at Long Beach Arena in Long Beach, California, on July 30, 1971, and was broadcast on radio (KUSE 91.5 FM), a showcase for a support performance to Rod Stewart and The Faces. An official release for a concert that has long been considered a landmark for the band, the set featured tracks ( Speed King and Child in Time ) from their fourth studio album, June 1970's Deep Purple In Rock. This was a transitional release for the Mk II version of the band, being their first hard rock affair as well as their commercial breakthrough as the third leading über rock band of the day along with Black Sabbath and Led Zeppelin.

Released 26 six years after their split, this 2000 release gathers the two studio albums recorded by German-based Brooklyn progressive rock band Sweet Smoke onto one disc. Produced by Rosie Schmitz and Winifred Ebert, 1970 debut Just a Poke is an experimental affair, featuring just two 16-minute epic tracks, "Baby Night," which includes a cover of the Doors' "The Soft Parade" and "Silly Sally," which contains a five-minute drum solo. While 1973 follow-up Darkness to Light, produced by John G. Möring and inspired by a previous trip to India, features a more acoustic flavor on its six psychedelic tracks.

The Ric Ocasek-produced Why Be Blue?, originally released on Break Out in 1992, is notable for its upbeat temperament (the title isn't ironic) and its display of Alan Vega and Martin Rev at a point in their career when they were neither ahead of nor with the times. Despite "Mujo"'s resemblance to Peaches & Herb's "Shake Your Groove Thing" (a disco reference, very out-of-place for 1992 music that wasn't house or shiny dance-pop) and the mid-'80s sophisti-pop melodic structure of "Flashy Love" (it could almost be an ABC cover), they weren't exactly behind the times. They were somewhere else entirely, if vaguely in line with the groups that continued to look to Suicide's past work for guidance.