Influenced by the Specials, Public Enemy, and the Clash, London collective the King Blues combine folk-punk, Two-Tone, and dub reggae with overtly political lyrical themes on a sound self-described as "conscious rude boy ska." The band originally formed as a duo in 2004 before vocalist/ukulele player Jonny "Itch" Fox, and guitarist Jamie Jazz decided to expand their sound, recording with a number of various musicians before settling on the permanent lineup of guitarist Dean Ashton, bassist Kat Marsh, keyboardist Josie Dobson, and drummer Jack "Percusher" Usher. In 2005, they released their debut EP, All Fall Down, which was later followed by their 2006 full-length album, Under the Fog.

6th studio album from UK band Reverend & the Makers. The Death Of A King already highlighted by NME as 'the best album of their career', this record (which was recorded in Thailand) takes the band in a more experimental, psychedelic direction and has great hype behind it.

Ant-Man director Peyton Reed has confirmed that the composer from the original Ant-Man movie will be returning to the sequel Ant-Man and the Wasp which is slated for release next summer. Reed has spent the past month or so posting cryptically on his Instagram account. There has also been a confirmation from Marvel that the filming of the movie is going to start in Atlanta in the next couple weeks. Hannah John-Kamen is also going to be joining the cast in a 'major role'. Also making a return will be T.I along with several other members from the original cast, according to a report by Screen Rant. Reed was inundated with questions from fans after he tweeted the mysterious Instagram that he put up. One of those questions included the possible return of the Ant-Man composer Christophe Beck from the original movie. Reed was only too happy with the question and immediately took to Twitter to respond with an affirmative answer.

Timing is everything, so it’s a shame that Megosh’s sophomore record got the end of the year treatment, when no one is looking for new releases. It’s no major issue, as Apostasy has all the hallmarks of an album you discover long after it’s out. The Maryland band plays a style of progressive post-hardcore that’s seen a mild resurgence; it falls somewhere between Coheed and Cambria, Pierce The Veil, and I The Mighty (with some of Ice Nine Kill’s theatricality). It’s also 14 songs long, and it’s definitely an album album, one meant to be digested as a whole rather than in sections, making it not exactly easily approachable, at least on the surface. That’s all a shame, as Megosh’s pop sensibilities are readily apparent from the get-go, and despite establishing an impressive take on prog/post-hardcore, no two songs sound the same. This makes for a consistently entertaining listen that only gets better with repeat spins. Even the more “standard” post-hardcore tune “Waste of Me” showcases the melodic and technical flair that elevates these songs.

With music by the Grammy Award-winning composer Danny Elfman, ‘Don’t Worry, He Won’t Get Far On Foot’ is written and directed by Oscar Nominee Gus Van Sant and stars Joaquin Phoenix, Jonah Hill, Rooney Mara, and Jack Black. Four-time Oscar nominee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with such directors as Tim Burton, David O. Russell, Gus Van Sant, Sam Raimi, and Peter Jackson. Elfman has scored a broad range of films including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), and Edward Scissorhands.

NEEDTOBREATHE has been churning out music regularly since 2006, when their first major label release, Daylight, hit the market. In 2018, they are now six full-length albums and various EP’s into their career with a great track record of high quality with each new release. With the 2016 album H A R D L O V E, the band leaned into modern synthesizers, mixing them with the southern rock/alternative sound they have made their career on. It was a needed artistic step, but it left some longtime fans frustrated. It took this reviewer time to warm to it, but H A R D L O V E eventually won me over with some of the tightest songs they had written up to that point. That brings us to the Forever On Your Side (Niles City Sound Sessions) EP, which continues sonically along the path started by H A R D L O V E and the Hard Cuts EP from last year. If you’re looking for more of the roaring rock of The Reckoning and The Outsiders, then these four songs may leave you wanting. However, if this newer sound works for you, there are some nice introspective moments to enjoy.

Jerry Vale's beautiful high-tenor voice graced many of the most enchanting pop songs of the '50s and '60s, including a parade of Italian-American favorites like "Innamorata (Sweetheart)," "Volare," "Amore, Scusami," and his signature song, "Al Di La." Vale, born Genaro Louis Vitaliano in 1932, learned the Italian repertoire from an early age; his mother often sang around the house and trotted out the old songs at extended-family gatherings. While shining shoes at a local barber shop at the age of 11, young Vitaliano began singing popular songs for customers while he worked. He was soon sent to a vocal coach, where he learned piano as well as voice. Over the course of just four years, he'd progressed from school productions to paying gigs to residencies at supper clubs around New York City.

Three time Grammy Nominated David Arkenstone leaves terra firma and establishes himself in the heavens on his new atmospheric/electronic release colors of the ambient sky. David's nine track soundscape is a stratospheric incursion into the boundless reaches of the unknown universe.

Two CD set, taken from the band’s most recent US tour. Media-book presentation with 24 pages booklet featuring photography by Tony Levin & David Singleton. Featuring many iconic King Crimson pieces performed live by this line-up for the first time – some being played live for the first time ever, including: Islands, The Lizard Suite, The Errors, Fallen Angel, Cirkus & more.

Robert Casadesus plays Mozart: What Bach means for Glenn Gould, Mozart means for the French pianist Robert Casadesus. His Mozart shots continue to set standards.

George Szell brings classical lightness and drive to Beethoven's early symphony, all the while pointing up the composer's daring formal and harmonic inventiveness. In the first-movement introduction Szell achieves authentic-performance-style clarity yet maintains a welcome solidity of orchestral tone (without becoming weighty) before springing zestfully into the allegro proper. Only the finale, although done with much finesse and polish, sounds a bit restrained compared to the quicksilver renditions of Harnoncourt and Gardiner.