On their second collaboration, legendary singer Mavis Staples and Wilco leader Jeff Tweedy have crafted a gospel album for the 21st century, a music that strives for faith in a world where nothing can be taken for granted. On One True Vine, Mavis Staples gives voice to something new in her repertoire, something deeper and more resonant with our times; longtime fans will notice a new reserve in her singing, a muted, plaintive quality that serves the darker, more nuanced songs collected here perfectly. If her Stax hits spoke for a growing black social consciousness, and her seventies collaborations with the Band and others gave spiritual weight to the rediscovery of tradional American music, then in our post-millenial drift, Jeff Tweedy has crafted a pulpit from which Mavis lends her voice to a search for grace.

A young, new, captivating voice has made a sensational entrance into the world of jazz “divas”.

Shortly before the early-1990s grunge boom hit, Screaming Trees vocalist Mark Lanegan was already blazing his own path with his solo debut, „The Winding Sheet“. Marking a considerable departure from the Trees' feedback-drenched neo-psychedelia, this spare collection of acoustic-leaning songs allows Lanegan to wander into darker, more unsettling territory, as revealed on the thrillingly bleak 'Mockingbirds' and the haunting title track. Not only do these subdued songs, co-written with guitarist Mike Johnson, allow Lanegan's deep, husky voice to hang in the air longer, they share a shadowy, nearly macabre sensibility with other revered artists such as Nick Cave and Tom Waits, giving the singer added appeal and mystique beyond the standard rock-frontman persona.

On Tangerine Moon Wishes, Sandra Nkaké narrates day-to-day life in an imaginary world. With a sound that mixes jazz, soul and folk-influenced pop with unparalleled inventiveness, the album's thirteen tracks describe living on the sand at the edge of a forest where the river flows into the sea. Times change, moods vary, characters transform themselves and everyone has an appointment with the Moon. They say it turns red just before it disappears, and we can all make a wish. Recorded live and produced by Ji Dru, this poetic and upbeat record is like a musical antidote to the trials and tribulations of today's world.

For his fourth solo album following the breakup of the much beloved Screaming Trees, Mark Lanegan delves into the always fraught waters of the all-covers album. Often a stylistic mish-mash of the artist's favorite songs done so much in their original styles that the singer's true personality is lost, the covers album is dangerous territory, but Lanegan navigates it beautifully. Crucially, „I’ll Take Care of You“ finds Lanegan performing the work of other singers and songwriters in his own style rather than adapting himself to suit the songs. Therefore, tunes by 1960s folkies Fred Neil ('Badidah') and Tim Hardin ('Shiloh Town') sit comfortably next to efforts by 1980s blues-punks the Gun Club ('Carry Home') and the Leaving Trains ('Creeping Coastline of Lights'), as well as a handful of traditional folk and country songs.

For Eternamente, her first studio recording in six years, soprano Angela Gheorghiu focuses on Italian composers of the generation that followed Verdi and predominantly on repertoire she has not sung before – including some fascinating rarities. Joining her for duets from Mascagni’s Cavalleria rusticana and Giordano’s Andrea Chénier is another star of today’s opera stage, tenor Joseph Calleja.

On his second solo outing, 1994's „Whiskey for the Holy Ghost“, Screaming Trees frontman Mark Lanegan unveils a set of tunes that is more dynamic and cohesive than his spare, brooding debut, „The Winding Sheet“. Once again collaborating with multi-instrumentalist Mike Johnson, among others, Lanegan uses his deep, gravelly voice to maximum effect on these wonderful songs of woe, which include the hypnotic, David Lynchian "The River Rise" and the dark, pastoral "Kingdoms of Rain." Arguably Lanegan's best solo album, „The Holy Ghost“ predicted that the perpetually melancholy Pacific Northwestern performer would be just fine on his own when Screaming Trees eventually split.

Featuring the rarely heard music of the transition from Renaissance to Baroque, Deutsche Harmonia Mundi brings you Una Serata Venexiana (An Evening in Venice). Capella de la Torre, headed by Katharina Bäuml, received the Echo Klassik Award as “Ensemble of the Year” in 2016. This acclaimed group of musicians now spirits listeners away to 16th-century Venice, one of the most important and innovative musical capitals of its day.

Isabel Villanueva will present her debut album ‘Bohèmes’ on 20th October in an press-conference held at Teatro Real in Madrid. This is her first recording project for viola and piano recorded with François Dumont for IMMStage label. The album includes works by Liszt, Granados, Hahn, Martinu, Enesco and Debussy.

Rachel Kolly d'Alba can recall being eager to learn to play the violin from her earliest days, when her parents regularly brought her along to hear concerts by the Lausanne Chamber Orchestra. She remembers, "I loved the solo sound, the sound of the violin emerging from the orchestra." Kolly d'Alba now can be heard as soloist with many well-known orchestras and conductors and in recital with pianist Christian Chamorel.

The 'Cantigas de Santa Maria' (Canticles of Holy Mary) are 420 poems with musical notation, written during the reign of Alfonso X The Wise (1221–1284) and often attributed to him. It is one of the largest collections of monophonic songs from the Middle Ages and is characterised by the mention of the Virgin Mary in every song.

Bully burst onto the scene in 2015 with their critically acclaimed album Feels Like. Today the band announces their Sub Pop debut Losing, and share lead track “Feel The Same.”

Wagner interpretations with Herbert von Karajan and the Berliner Philharmoniker have a quality all of their own. Critics always admired the ability of the musicians to bring out not only Wagner’s luscious sound, but also all the subtleties of the score. Moreover, Karajan was able to rally the singers to successfully convey the lyrical tenderness of Wagner’s heroes despite their vocal powers.

To define in a nutshell the music of Harry Nilsson in accordance with his personality can easily become a fiasco. The American singer-songwriter might well share his reputation as a multi-talented eccentric with a number of other musicians. However, his highly unusual style and his "satirical catchy pop songs [composed] with the sparkling eye of a cynic and the tearful eye of a nostalgic" (rororo Rock Lexicon) cannot be pigeonholed. Nilsson packaged derisive lines, spiced with a pinch of self-irony, in suspiciously pleasing yet carefully selected tunes.

By the end of the '70s, John Denver was still a star, but he didn't have many hits. That situation didn't improve in the early '80s, as his records started sliding slowly down the charts. This is the era that Greatest Hits, Volume 3 covers – one that found Denver's popularity fading, but not necessarily his skills. Sure, his songs don't sound as effortless or charming as they used to, but the best moments from these years (most of which are captured on this compilation) illustrate that he was still capable of crafting ingratiating folk-pop songs. It's not for every listener, but fans of Denver's classic years that want to dig a little deeper may find some gems here.