Featuring ex members of Perspex Flesh, Whipping Post have shared three new songs, ‘Memory’, ‘Dissection’ and ‘Too Much’.

Après le succès de l album collectif « Lamomali », -M- revient avec « Lettre infinie », son 6ème album solo, attendu depuis 2012. Certains titres rappellent avec éclat ses plus grandes chansons (« Machistador » ou « Je Dis Aime »). Avec une production de haute volée (Philippe Zdar aux mixes). Le premier extrait de l album, l'imparable «Superchérie », est quant à lui co-produit par Thomas Bangalter (moitié de Daft Punk).

For the past 25 years, singer-songwriter Michael Franti has been wrapping his arms around the world with his band Spearhead, stockpiling an arsenal of uplifting hits like “The Sound of Sunshine” and “Say Hey (I Love You).” In 2019, Franti will release two Stay Human projects: an album and documentary.

On this fourth Lee Harvey Osmond album, Mohawk, under the steady hand of Producer Michael Timmins…

Quiet Riot's performance at Frontiers Rock festival 2018 marked the band's first-ever concert in Italy and what a hell of a show it was! With the entire club shouting and singing and calling back the band on stage at the end of the show, Quiet Riot literally took no prisoners, offering the crowd a superb selection of their greatest hits plus a very special surprise in "Thunderbird," a song from the multi platinum album "Metal Health" that the band never performed on stage in its entire history. The lineup featured original member Frankie Banali on drums, bassist Chuck Wright, who has been involved in the band since the recording of "Metal Health".Alex Grossi on guitar who has been in the band for 14 years and the new singer is James Durbin, who was on 'American Idol' during the tenth season.

The story of Seattle's rise to global rock supremacy in the late '80s and early '90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12"s and a 7" single during its brief existence. Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind. "By '83, '84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War," says Arm.

As Swervedriver wrapped up a series of dates devoted to performing their classic albums Raise and Mezcal Head at the tail-end of 2017, one thing became clear to the band's vocalist and chief songwriter Adam Franklin: the time to record another album was nigh.

The story of Seattle's rise to global rock supremacy in the late '80s and early '90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12"s and a 7" single during its brief existence. Green River's influence on Seattle's music scene spread far and wide thanks to the members' dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind.

Better Oblivion Community Center is a brand new band comprising the formidable talents of Phoebe Bridgers and Conor Oberst, two of the most lauded American songwriters of the past several years. Written and recorded in Los Angeles during the summer of 2018, their self-titled debut album will be released on Dead Oceans in early 2019. The pair first collaborated on Bridgers’ 2017 single, “Would You Rather”, taken from her acclaimed debut album Stranger In The Alps. They teamed up again for a recording of Oberst’s “LAX” in the fall of 2018. Co-produced by Bridgers, Oberst and long-time Oberst/Bright Eyes collaborator Andy LeMaster and mixed by John Congleton, Better Oblivion Community Center features the work of several talented friends, including Nick Zinner (Yeah Yeah Yeahs), and Carla Azur (Autolux, Jack White) among others.

A Soulful Sunday: Live at the Left Bank is the very first official release of this recording by jazz vocalist Etta Jones. Jones flew in from Chicago, IL just before this set began at the Famous Ballroom in Baltimore, MD with Cedar Walton on piano, Sam Jones on bass and Billy Higgins on drums, and provided instant enjoyment for the crowd gathered on Sunday, February 27, 1972.

Reel to Real Recordings is proud to announce the label's co- inaugural release, Swingin' in Seattle: Live at the Penthouse (1966-1967), a scintillating set of previously unissued live recordings of the Cannonball Adderley Quintet featuring Cannonball's brother and cornetist Nat Adderley, pianist Joe Zawinul, bassist Victor Gaskin and drummer Roy McCurdy recorded over the course of 4 nights between 1966 and 1967 at the legendary Penthouse jazz club in Seattle, Washington. This is the very same band that recorded the classic Mercy, Mercy, Mercy! Live at "The Club" album on Capitol Records on October 20, 1966, and it captures the quintet in rare form at the height of their most powerful swingin'.

An electrifying experience as Davis moves away from his traditional quintet sound toward a more jazz/rock feel later to be known as fusion. Illuminated by Herbie Hancock's Fender Rhodes, along with a guest appearance by George Benson on Paraphernalia.

Lena Raine's award-winning soundtrack is transformed into a classical masterpiece by arranger and performer Trevor Alan Gomes across 13 tracks and accompanying sheet music book engraved by David Peacock.

Valery Gergiev holds the opening movement of Shostakovich's Symphony No. 4 together by sheer willpower. Since the gargantuan movement sprawls like a drunken giant, lurching from pseudo-exposition through inchoate development and faux-recapitulation and amorphous coda, nothing else but willpower could possibly do it. And, amazingly enough, it works. With the tremendously muscular playing of the Kirov Orchestra, Gergiev makes chaos cohere and even convince, if not quite compel.

By its very nature, patriotism is vulgar: loud and proud, bombastic and sentimental, and wholeheartedly simple-minded. Or is that less a description of patriotism than a précis of Shostakovich's Symphony No. 7? Written during the siege of Leningrad at the start of the Great Patriotic War, the Seventh is incredibly vulgar – critics at its American premiere savaged it for its banality – and incredibly effective.