With Hourglass, Antibalas returns to its instrumental roots. Previous albums featured lyrics that addressed topics like patriarchy, climate change, militarism, late stage capitalism, oligarchy, white ethnonationalism, and the genocide of Native Americans. In this album the group rearticulates these themes, however speaking through melody and rhythm. “Once a song has lyrics, everyone who doesnʼt speak that language is on the outside. We use rhythm and melody to translate the emotions in the album and make it universally accessible,” explains the co-producer/founder Martín Perna.

Celebrating the 40th anniversary of Clannad's 1985 album, Macalla (meaning ""Echo"" in Irish) and newly remastered by Phil Kinrade at Air Studios. This ninth studio album became their first international success and marked a significant point in the band's career, showcasing a blend of their traditional Irish folk roots with a more mainstream, pop-influenced sound.

The King Of Rockabilly Carl Perkins returns to Sun Records with the landmark release of his never-before-heard album, Some Things Never Change. Tracked in Nashville and his Jackson pool house, Perkins shines as produced by Bill Lloyd. Arriving in celebration of 70 years of “Blue Suede Shoes,” the album features new originals and versions of John Hiatt's "Memphis In The Meantime" and Johnny Cash's "Get Rhythm," backed by sons Stan and Greg Perkins and studio aces Jerry Douglas and Pete Finney.

I’ve always been captivated by the night sky, endlessly wondering about what lies beyond. Amidst the vast expanse of stars, there is a sense of balance and symmetry that fascinates me—an order within the chaos. The innate patterns of the constellations sparked my curiosity, prompting me to explore how these celestial forms might be translated musically.

After years of writing, wandering, and starting over, Evan Dando returns with Love Chant, the first Lemonheads studio album of original material in nearly two decades. Long in the works and shaped by shifting geographies and a cast of trusted collaborators, it’s a bold, melodic reaffirmation of one of alternative rock’s most distinctive voices.

Distinctive Scottish pianist and composer Fergus McCreadie presents The Shieling, an album that marks a nuanced and subtle yet powerful shift for him and his trio. Following the huge acclaim and success of Cairn, Forest Floor (shortlisted for Mercury Prize and winning Best Album at Scottish Music Wards) and Stream, Fergus McCreadie draws on fresh inspiration from the wild, elemental beauty of North Uist in the Scottish Outer Hebrides. Recorded in a remote cottage and produced by celebrated and fellow Mercury shortlisted artist, Laura Jurd (Dinosaur), The Sheiling reflects a deeper sense of oneness and primal rawness. The trio - recording in one room with McCreadie on an upright piano - finds new ground to their sound - lyrical, untamed and alive.

Acclaimed Swedish clarinettist and conductor, Martin Fröst is proud to announce his brand-new album, B.A.C.H. dedicated to the music of JS Bach.  Bach’s music has fascinated Fröst throughout his life, being enchanted and beguiled by its intimate form, even at a very young age.  Although Bach never encountered the clarinet, this has proved no barrier for Martin Fröst, who has returned to Bach’s music time and time again throughout his illustrious career.  In the past, Fröst devised performance programmes entitled "Beyond All Clarinet History" (B.A.C.H.), which intertwined Bach’s timeless melodies with new arrangements and he returns to this original idea here with sparkling new interpretations both for clarinet and a variety of other instruments, such as bass, cello, and theorbo that form the linchpin of his new "B.A.C.H." album, to be released by Sony Classical.

Gelosia! (Jealousy!), Philippe Jaroussky’s latest project with the instrumentalists of Artaserse, takes its dramatic name from two solo cantatas receiving world premiere recordings. Programmed beside cantatas by Vivaldi, Handel and Alessandro Scarlatti, they are by the Neapolitan Nicola Porpora (1686-1768) and the Venetian Baldassare Galuppi (1706-1785). Though composed some 35 years apart, both cantatas set the same text, ‘La Gelosia’, written by the prolific Pietro Metastasio.

or Yoav Levanon, Franz Liszt is “an artist whose impact on the music world is immeasurable,” and “a supportive, loving and understanding presence that has accompanied me throughout my journey as a pianist and musician.” Works by Liszt have graced two of Levanon’s three previous Warner Classics recordings, and now the young Israeli-born pianist has recorded the twelve Transcendental Etudes, a high point in the Romantic repertoire for piano. The term ‘transcendental’ applies to the capacities required of the performer, but it also embraces the mystical and spiritual implications of the music. “When I approached the Transcendental Etudes – that name of glory which still strikes awe in the world of pianists – I knew I wanted to make one thing clear,” says Levanon. “That this project was never about virtuosity for its own sake. Instead, it was about what virtuosity allows us to uncover … The deeper I went, the more I recognised the extraordinary expressive range of the Etudes – emotional, spiritual … even symphonic in scale. Each piece is a universe of its own. These works are layered, complex, and endlessly revealing. They invite us into vast inner landscapes, full of hidden colours and meanings that demand something far deeper than brilliance."

Celebrating the 2025 Rock and Roll Hall of Fame Induction and the 50th Anniversary of rock icons Bad Company, comes a band sanctioned and first ever tribute album – Can’t Get Enough: A Tribute to Bad Company. This special release features current and legendary artists from the Rock, Country, and Americana genres—including The Pretty Reckless, Charlie Crockett, Slash, HARDY, Def Leppard amongst others—offering fresh interpretations of Bad Company’s classic songs. Both frontman Paul Rodgers and drummer Simon Kirke also appear on several tracks, performing alongside these artists. The tribute album is executive produced and curated by Gary Spivack (Danny Wimmer Presents), who programs all U.S. rock festivals.

After the release of Bon Jovi's acclaimed 2024 album Forever, the band set out to reimagine every song on the album with an array of some of the world's most revered and innovative artists. Forever (Legendary Edition) includes one brand-new track ("Red, White and Jersey") and 13 fresh takes on songs from the Forever album, featuring artists like Bruce Springsteen, Lainey Wilson, Jelly Roll, Jason Isbell and the previously released version of "The People's House" with The War & Treaty.

In the company of the DR Symphony Orchestra's 106 musicians, the great symphonic music cannot just be heard - it can be felt. The orchestra's roots go back to 1925, and today the orchestra is of international class with classical world names on the guest list and a contract with the famous record company Deutsche Grammophon. What the DR Symphony Orchestra and the great conductors and soloists who visit the orchestra every season have in common is that they are passionate about giving the audience great musical moments where time stands still - both live in the Concert Hall and transmitted in the best sound and image formats.

Sweet's earliest recordings - the clutch of 45s issued in the U.K. and Europe between 1968 and 1971 - made it out in a variety of forms in the years following the band's initial breakthrough. Strangely, however, it was not until 1991 - a full 20 years after "Funny Funny" gave them their long-awaited first hit - that the entire canon was pulled together, as Repertoire raided the vaults not only of Fontana and Parlophone, the band's first two labels, but also visited some less-familiar directions as well. The bulk of First Recordings 1968-1971 - tracks one through eight - comprises all four original singles, a mixed bag that ran from the unadulterated pop of "Lollipop Man" and "Slow Motion" to the convincing harder rock of "The Juicer"…

The great jazz pianist, composer, and Blue Note legend Horace Silver only released one live album during his lifetime, but his quintets were always among the most reliably thrilling working bands in jazz, delivering high-energy, crowd-pleasing performances of Silver’s indelible compositions to fans around the world. In August 1965, Silver brought a powerhouse line-up to The Penthouse in Seattle with Woody Shaw on trumpet, Joe Henderson on tenor saxophone, Teddy Smith on bass, and Roger Humphries on drums. A newly discovered recording of those performances gets its first-ever release with Silver In Seattle: Live at the Penthouse featuring the band delivering uninhibited renditions of Silver classics including “Song For My Father,” “The Cape Verdean Blues,” “The Kicker,” and more.