Halo Maud's first release on Heavenly is a recap of the story so far ahead of an album release later this year - three tracks of this EP originally came out on a Canadian label last year, with the difference that 'Du Pouvoir' now features some English lyrics, and 'A La Fin' and 'Dans La Nuit' cropped up on a La Souterraine compilations in 2015 and 2016 respectively. Maud Nadal has been a member of both Moodoid and Melody's Echo Chamber's live bands, and of course at times there are comparisons to be drawn with MEC, with both teetering on a crystalline peak where extreme joy and despair meet. But if anything Nadal's own melodies are even more indelible, and her voice turns them into vapour trails.

He possesses one of the most recognizable voices in music, a voice that led LTD through a string of top hits in the 70s and that won for him millions of fans as a solo singer during the 80s and beyond. Of course, we're talking about the great Jeffrey Osborne, one of our all-time favorite male soul vocalists.

Seattle all-female rock n’ roll band Thunderpussy to release debut self-titled album on 5/25 via Stardog / Republic Records. Album will include previously released tracks, 'Speed Queen,' 'Velvet Noose,' 'Torpedo Love,' and latest single 'Gentle Frame.' The band has captured endorsements from Rolling Stone and Pearl Jam’s Mike McCready. They recently wrapped up performances at SXSW and will support the launch of their album with a series of headlining performances throughout the US.

Hervé Niquet possesses two constant character traits: he is an indefatigable excavator of forgotten music, and he loves polyphony and large forms. A few years ago, he caused a sensation by exhuming the monumental music of Striggio. To mark the thirtieth anniversary of his ensemble, Le Concert Spirituel, he now tackles a new peak of polyphony: a mass by Orazio Benevolo (160572) performed by eight choirs of four singers, accompanied by fifteen continuo players. In concert, the choirs are spread out around the nave, with the audience in the middle.

For his debut solo album, the Leader of the London Symphony Orchestra showcases his virtuosity and innate musicality, navigating the technical and artistic challenges of Paganini’s 24 Caprices for solo violin. Staples of the violinist’s impressive repertoire, as a budding musician Simovic would practice these works daily in place of scales, and has gone on to delight audiences with performances across the globe.

The fourth studio album by Blundetto, the man behind French radio station Radio Nova, which focuses on on his core interest in Jamaican music, be it roots or digital reggae, with legendary singers featured such as Ken Boothe, Cornell Campbell, Little Harry and some close friends as Biga Ranx or Jahadan Blakkamoore. Produced by Blackjoy. Why this title? Slow Dance? Thats a musical movement in the north of Brazil. All the reggae soundsystem are slowering the tempo of the songs and the crowd is dancing in couple. Closely. Blundetto is one of the most played of this new musical movement.

After a three-year (1971-1974) hiatus, singer/songwriter Janis Ian (guitar/vocals) reinvented her craft on the groundbreaking Stars (1974) long-player. Her penchant for hauntingly beautiful melodies and incisive lyrics remains at the center of Ian's craft as she weaves an array of uniquely expressive observations with timeless poignancy. She has publicly acknowledged that the introspective title track that opens the album was inspired by Don McLean's "Vincent."

Introducing the first new Secret Garden collection in 18 years. Secret Garden features Norwegian composer-keyboard artist Rolf Løvland and Irish violinist Fionnuala Sherry. The band first came to international prominence when they won the 1995 Eurovision Song Contest with the song ‘Nocturne’, which features on this collection.

Fiercely intense and beautifully intricate, ‘Enemy’ spotlights three brilliant and creative musical minds: Frans Petter Eldh, Kit Downes and James Maddren.

When Janis lan's self-titled 1978 album failed to crack the Top 100, it was clear that changes were in order. Here, she turns to producer Ron Frangipane and a surprising songwriting partner, Euro-disco maven Giorgio Moroder, who brings in his dance tracks for "Fly Too High," which was intended for the motion picture Foxes. More appropriately, Ian also pairs with Albert Hammond for the leadoff track, "The Other Side of the Sun." Even on her own, however, she is attempting a more timely pop style: "Memories" is as much of a disco cut as the Moroder one. That makes the album more engaging on the surface than her recent releases, but less compelling. As a commercial move, Night Rains failed to chart in the US, but was an international best seller.

Singer/songwriter Janis Ian followed up her understated masterwork Aftertones (1976) with this long-player, which includes some equally engaging and varied material. Although she'd eventually return to using studio heavies for the remainder of her '70s and early-'80s output, Miracle Row (1977) prominently features Ian's touring band, which highlights the respective talents of Claire Bay (vocals), and a power trio of Jeff Layton (bass/horns/horn arrangements), Stu Woods (bass), and Barry Lazarowitz (drums/percussion). Each of the musicians were themselves recording session stalwarts and had interacted with the artist in various capacities for several years.

This is Janis Ian's second album from her re-emergence in the early to mid-'70s as one of the genre's most inspired and original singer/songwriters. While this title houses Ian's biggest international hit, the confessional "At Seventeen," the entire effort combines her honest and confessional lyrics with an equally engaging blend of pop/rock and definite jazz and blues. She assembled much of the same ensemble that had worked on her previous long-player, Stars (1975), and much of the material retains the same warmth and intimacy in both her craft as well as the presentation.

On Aftertones, Janis Ian (guitar/piano/vocals) continued the artistic, and to a lesser extent, the commercial success she garnered on her previous effort Between The Lines (1975). Once again, she assembled some of the finest session musicians from the Big Apple to animate her intimately sensitive sonic portraits and caricatures. Although Ian would not surpass the universality of "At Seventeen," much of this disc continues the theme and moods expressed as far back as Stars (1974).