The album features a mix of five originals and interpretations of nine songs, dating as far back as the twelfth century, mostly sung in French along with Occitan, English, and Haitian Kreyòl.

The Osnabrück Blues Company used the time during the pandemic to write songs for a new studio album.

Celebrating the Kinks 60th anniversary and compiled by The Kinks, this is a new, high-profile, worldwide release combining the Pye and RCA catalogues.

The Dark Side of the Moon was a benchmark record. It turned the musical world on its ear with a hitherto unheard combination of sounds, and changed things considerably for Pink Floyd.

Klaus Mäkelä, the first conductor signed to Decca for forty years, brings the Orchestre de Paris to the label for a major new album of Stravinsky's most iconic ballet scores.

A symphonic album featuring the works of composer David Lampel (1959), performed by two leading French orchestras (the Mulhouse Symphony Orchestra and the Victor Hugo Burgundy Franche-Comté Orchestra). For this recording, two renowned soloists, Emmanuelle Bertrand on cello, and Marie-Josèphe Jude, have been invited.

The fascinating and elusive figure of the Monk of Salzburg, whose actual name we will probably never know, has been enriched by a further work. A Passion setting that can be linked to the apocryphal Gospel of Nicodemus and which the Enssle-Lamprecht duo sensually and poetically brings to life with their incomparable virtuosity and an astonishing arsenal of medieval instruments.

Most of us, certainly those of us in North America, experience war from a safe distance, through what we see on television and read in the media, while the reality of war happens far away. Poet Suzanne Steele, however, gained a unique firsthand perspective on war. As Canada’s first War Poet, Steele joined the 1st Battalion Princess Patricia’s Canadian Light Infantry in 2009 during the war in Afghanistan, documenting her experiences in her poetry and at warpoet.ca. She saw the fear, the belief, and the sacrifice. She met people who did not come home alive. She met people who did come home, but broken, to a life shattered by post-traumatic stress disorder. She met their families, mourning, powerless. Her writings and experiences–stories we do not see on television or read in the media–provide the foundation for this hour-long concert work with music by Canadian composer Jeffrey Ryan.

Maurice Yvain’s operettas were immensely successful in the 1920s. The fantasy of the ‘swing’ music, the catchy songs and the perfectly oiled rhythms were all the rage in the Paris of the Roaring Twenties. But the success of these comedies, with their caustic humour, also owed much to the fabulous texts by Albert Willemetz, considered as one of the fathers of modern operetta in the twentieth century. Yvain and Willemetz’s numbers were hummed in the streets and charmed all who hear them – and still do, even a century later!

Baroque Italy still conceals many works that are too rarely performed. Here, ensemble Le Palais royal brings together Lotti's Credo, Rubino's Lauda Jerusalem, Vivaldi's Laetatus sum and Scarlatti's splendid Stabat Mater. Brilliant, virtuosic and richly ornamented, these pieces were composed for festivities and celebrations, and reflect the effervescence and opulence of the Italian cities of the seventeenth and eighteenth centuries. Far from the smooth, cold marble, the ensemble's performance on period instruments reveals all the asperities, reliefs and volumes of a language and music that it sculpts like a colourful and sensual material.

'Precipice' takes Ill Considered back to their improvisational roots. Idris Rahman, Emre Ramazanoglu & Liran Donin operate as one to create an album highlighting their superlative talents and rightful position at the helm of the UK's Jazz scene. A rebirth following 2021's acclaimed 'Liminal Space', this new album has a raw, stripped simplicity harking back to the seminal albums of 70's Jazz. Ill Considered collaborate again with acclaimed visual artist Vincent De Boer to create the artwork for the album.

Three instruments, three emblematic works, and three excellent soloists! With Sophie Gent on violin, Frank Theuns on traverso and Bertrand Cuiller on harpsichord, Les Muffatti offer a fresh interpretation of Bach's Triple Concerto, the Fifth Brandenburg Concerto and the Orchestral Suite in B minor. They provide a variety of orchestral textures, appropriate to the more soloistic style in the Brandenburg Concerto, and the alternating ripieno-tutti settings in the Triple Concerto and the Suite.

The relationship between violinist and violin—not to mention the bow—is its own kind of union. I was 20 years old when I played my first great Stradivari. It was a confusing experience for me—the sound the instrument made was beyond my ability to control, and I had never imagined such possibilities of colour and texture. In fifteen minutes with the instrument, I learned more about the violin than I had learned in my previous two years of practising! One of the pieces I played on it was the Allemanda from Bach’s B minor Partita, an experience that left a lasting impression on me. It was simultaneously humbling and exhilarating, and I had the distinct impression of being in the presence of two giants of the violin, Bach and Stradivari. I realized then that if I wanted to do them justice, there was still a lot of practising to do!

Francis of Delirium is the moniker of 22-year old, Luxembourg-based Jana Bahrich. The young artist’s incredible journey up until this point has seen her release 3 critically acclaimed EPs, ‘All Change’, 'Wading’ and ‘The Funhouse’. With praise so far from the likes of Stereogum, FADER, Pitchfork, Line of Best Fit, 6 Music, Radio 1, KEXP and NPR to name but a few, Francis of Delirium is on the precipice of something extremely exciting with debut album Lighthouse.

Polish-born Mieczysław Weinberg twice escaped from Nazi invasions, finally settling in Moscow, where for more than 30 years he was Shostakovich’s closest musical friend. Composer of 26 symphonies, seventeen string quartets and seven operas, he was also a master of the solo string sonata, a genre not touched by Shostakovich and little cultivated in the Soviet Union. His four sonatas for cello solo were composed between 1960 and 1985 and enshrine some of his most concentrated and poetic inspirations.