Those who love rather complex and dynamic sequencer music with an acoustic edge and an occasional high-tech feel should check out the music Paul Ellis' has put down on his amazing album "Last Hiding Place of Beauty". The CD contains four long tracks, all making a powerful, straightforward statement, keenly melting vibrating sequencer patterns, fx's, and a wide range of vintage flavored synthesizer textures such as Mellotron flute. As said previously, the overall structure is rather complex, although lots of space is found within the core of every piece of music. The great interplay between bass grooves, drums, electronic and acoustic instruments is quite mind blowing, especially on the 16-minute title track. The overall outcome is simply breathing the joy of honest electronics more than once.

Canadian pianist Jarred Dunn presents Górecki’s World of the Piano, his first recording for ATMA Classique. This album highlights the piano works of Polish composer Henryk Mikołaj Górecki. For the recording of the two-piano opuses, Jarred Dunn is joined by Anna Górecka, the composer’s daughter.

Mstislav Rostropovich One of the great cellists as well as one of the leading conductors of the 20th century, Mstislav Rostropovich's passionate and virtuosic performance style sometimes seemed to reflect the turbulent events in his life, including his exile from his native Soviet Union. In addition to his ability to project with notable fullness in all registers of his instrument, he had complete command of the styles of all the musical eras and national schools in the standard cello repertoire of the time. A strong supporter of new works, he premiered over 100 pieces as a performer, including Sergey Prokofiev's Cello Sonata in C, Op. 119 in 1950, which was composed for him. In 1959 and 1966, respectively, Dmitry Shostakovich's first and second cello concertos were written for and premiered by the esteemed cellist. In the meantime, he made his conducting debut in Gorky in 1962, and five years later, he made his Bolshoi premiere conducting Tchaikovsky's Eugene Onegin. In 1970, Rostropovich's open letter in support of dissident writer Aleksandr Solzhenitsyn led to canceled concerts and, eventually, his exile from the Soviet Union.

With the release of their classic 1974 debut, I Want to See the Bright Lights Tonight, Richard and Linda Thompson set an unbelievably high standard for themselves. Although containing many of the same attributes, their follow-up, Hokey Pokey, doesn't quite reach the lofty heights of its predecessor, but then again not many records do. The Thompsons, from the opening Irish fiddle derivation of a Chuck Berry riff, through Linda's exquisite performance of "A Heart Needs a Home," to their cover of Mike Waterson's "Mole in a Hole" which closes the record, once again create a timeless amalgam of folk and rock. Recorded at the time of the Thompsons' conversion to Islam, Hokey Pokey comes across a bit lighter than Bright Lights.

Peggy Seeger's 25th and final solo album, to be released the month before her 90th birthday, is a fitting tribute to over 70 years as a working musician, feminist and activist. This is no apologetic or quiet farewell - she's going out with a thoughtful, philosophical and very satisfying BANG. Peggy's voice and songwriting are still major forces to be reckoned with. Nine brand new songs and two reinterpretations span the pillars that have sustained her career. Written and recorded with family members - established musician sons Neill and Calum (Calum also produced the album) and daughter-in-law Kate St John - this album is sheer class, suffused with love and respect.

Flowers In The Dirt Recording Sessions.

The spectacular 2011 release by Robert Hollingworth and I Fagiolini that featured Striggio's Missa Ecco sì beato giorno and Tallis' Spem in alium, for 40 voices, won a Gramophone Early Music Award and a Diapason d'Or de l'Année.

Recording session material from the Red Rose Speedway album.

Four CD set exploring the thriving 1970s German Rock underground. Stellar line-up includes Tangerine Dream, Faust, Roedelius, Conrad Schnitzler, Popol Vuh, Edgar Froese, Cluster, Klaus Schulze, Guru Guru, Agitation Free And Many More. Complete With Extensive Travelogue Sleevenotes. Take a ticket, find yourself a comfortable seat and embark on a musical journey across the underground musical landscape of 1970s Germany… As the sound of the 1960s drifted off into outer space, open-minded musicians across Germany - East and West - forged their own unique path into the 1970s and beyond, strangely free of the overtly commercial and conformist concerns of their neighbours around Europe.

Currently in the Top 5 (and poised for #1), the duo's breakthrough single, .Cruise,. hit the Top 10 just 14 weeks after its release, faster than any debut since Brooks & Dunn s .Brand New Man. in 1991. It's the kind of affirmation few young artists ever experience, and yet was just the cap on a year that saw Brian Kelley and Tyler Hubbard thrill audiences on tour dates with Alabama, Brantley Gilbert and Jake Owen; cut an EP and their first album HERE S TO THE GOOD TIMES with producer Joey Moi (Nickelback, Jake Owen) and sign a label deal with Republic Nashville – after selling nearly 200,000 digital downloads independently. To date, .Cruise,. alone has sold well over one million; reached #1 on the iTunes Country Singles Chart and helped secure them a spot on Luke Bryan s .DIRT ROAD DIARIES TOUR. in 2013.

Wishbone Four is the fourth studio album by British rock band Wishbone Ash, released in 1973. It was a departure from their previous album, Argus, in that it lacked that recording's overall cohesion and atmosphere and the loose conceptual framework of a stately, pastoral and warring medieval England. Containing only hints of the extended twin-lead guitar harmonies, Wishbone Four's stylistic variety found its footing in acoustic folk elements in half of the eight-song set ("Ballad of the Beacon", "Everybody Needs a Friend", "Sorrel" and "Sing Out the Song"), two aggressive and melodic starters on each side of the vinyl release (Side 1: So Many Things to Say" and Side 2: "Doctor"), and the band's first use of horns on the semi-autobiographical "rave-up" touring song "No Easy Road".

It has to hurt to be dumped from the band you lead, but that's what happened to Pete Brown with the Battered Ornaments – and to add insult to injury, right on the eve of a prestigious support slot opening for the Rolling Stones at London's Hyde Park in 1969. But Brown, already an acclaimed poet who'd penned many of the lyrics for Cream, dusted himself off and founded Piblokto!. This, their first album, was actually far more accessible and commercial than his work with the Battered Ornaments. The inventive title track percolates, and "High Flying Electric Bird" (which was the B-side of the band's first single) features Brown on the highly unusual rock & roll slide whistle, mimicking a birdsong.

You can't help but get the idea that Domenico Scarlatti rather lived under the shadow of his father Alessandro. It is only with his move to the Iberian peninsula that his career seems to liven up. Very few of his surviving choral and vocal works live up to the imagination at play in the keyboard sonatas. His vocal works were highly regarded by his contemporaries and Charles Burney was admiring indeed. Remarkably, as recently as 1941, only his Stabat Mater had appeared in a modern edition. It was during the centenary in 1985 that new music was discovered and made available.

Dolly will release The Dollywood Collection: Celebrating 40 Years of Music & Memories. The compilation features songs written and performed by Dolly featured at Dollywood and related attractions. The album will be available from all digital retailers and streaming platforms. It is unknown at this time if it will be released on physical formats.

‘Why has this intense, brilliantly orchestrated, claustrophobically gripping masterpiece been so neglected since its 1977 premiere?’ asked Richard Morrison in The Times of the concert performance in the Barbican that preceded this recording. Miss Julie is Alwyn’s last large-scale work, written in 1973-76. Alwyn set his own libretto, based on Strindberg’s 1888 play of that title. The naturalistic drama and lifelike characters of that play appealed to Alwyn from an early age – in fact, he previously attempted to compose an opera on Miss Julie in the 1950s. That attempt failed, because of differences with his then librettist, Christopher Hassall.