Pioneers, philosophers, trailblazers, in short: prophets always have to assemble their flocks abroad before they find due recognition in their homelands. This also applies to the German art form KMFDM. Whether in the US, Japan, Australia or elsewhere (where they sold hundred thousands of records and embarked on various sold out tours) - for over a quarter of a century they are the epitome and synonym for a musical style of the harder variety: Industrial Rock. KMFDM pioneered the crossover between techno/dance and heavy metal, creating their unique sound and were one of the first bands to bring Industrial Rock to mainstream.

"ID" is a versatile album full of power and positive energy. Titles such as the opener "Golden Age", "Friends R Family" or the folksy "Run Jump Fly" go straight into the ear and will develop live to sing along hymns. Also, "Sing my song" has left its mark on the new album: exchange concert colleague Gentleman enriches the title track "ID" with a reggae insert, and "A Little Faith" recalls the rocky country style of The BossHoss.

It can take years to find your voice. In the case of the Winnipeg born, Brooklyn based musician Devon Church, it took the dissolution of a decade long marriage and creative collaboration ( Exitmusic, a nightmare pop project co founded by Church's ex wife) to send him down the road of discovering his own singular, rough hewn yet elegant style. Exitmusic is known for haunting soundscapes and hair raising emotional climaxes. With his remarkably assured Felte debut, We Are Inextricable , Church applies his experience as a producer, multi instrumentalist and songwriter to an equally absorbing solo project - one that plunges his Cohenesque pop poetics into an ocean of drone, psychedelic minimalism, harmonic noise, and distortion tinged, angelic ambience.

Victoria, BC-based songwriter Kirsten Ludwig has a couple of albums under her belt, and she's signed to Oscar St. Records for LP number three. The tune is a yearning, elegant ballad in which reverb-shrouded electric guitars and patient rhythms set the backdrop for Ludwig's sighing melodies and wistful lyrics. It's a dream-pop approach to alt-folk songcraft.

If some artists, it is the uncompromising, unclassifiable and maverick that pushes us to take an interest in them, it is not forbidden to be seduced by the opposite: in spring, the release of the first single Joe Bel extracted from the album that came out today we liked so precisely by the evidence he released. Joe Bel has a beautiful voice, without it imposes more than necessary, and In The Morning, the title in question, highlighted his desire to embody a light music but without emptiness, surrounded by neat arrangements. The entry into the album is done without difficulty, and if it were necessary to point a limit, it would be precisely the sensation of crossing the disk in one go, without asperities that hold us more than that, as if Joe Bel feared somewhat out of the frame she gave herself. And, again, we will point out that we are dealing here with a first album and that the exercise is neither neutral nor free from trial and error.

Recorded once again at Avatar Studios in New York, the critically acclaimed collection of holiday tunes gets an upgrade with five additional tracks and a brand new look. "I love Christmas music more than just about anything in the world," said Eldredge. "The (sleigh) ride Glow has taken me on has been so much fun, so now we've decided to make it deluxe!" Glow earned widespread praise from critics upon its initial release in 2016 with Entertainment Weekly calling it "a brassy romantic collection with bold big-band arrangements." People detailed Eldredge's "rich, pliant voice" and praised his version of "The First Noel," as "123 seconds of transcendent Christmas bliss that will make you wonder why the man even needs a band." Listeners agreed with the sentiment; Eldredge's duet of "Baby, It's Cold Outside" with Grammy-winner Meghan Trainor hit No. 1 on both the Adult Contemporary and Holiday Music charts.

'C’est marrant, cette impression de faire vraiment un 'nouvel' album après trente ans de bons et loyaux services. Parce que finalement je n’ai jamais fait ça : un piano-solo accompagné par des musiciens ! Ce qui, cette fois, va être le cas. 'J’aime pas la chanson ?'