Unheard ‘90s recordings of Arnold Dreyblatt and his Orchestra of Excited Strings, recalling the jagged, almost-funky rhythms and cranky tonalities of his Tzadik classic ‘Animal Magnetism'.

Second album by Vril on Delsin Records. A deep excursion for mind and body, combining his trademark dub techno grooves with experimental ambient trips.

Ultraísta release their first new album since 2012's self-titled debut with the release of Sister. It’s a collection that defies easy categorization, and one that proves that Ultraísta - is far more than just the sum of its remarkable parts.

Last year, Japanese experimental metal band Boris released a double album called LφVE & EVφL. Now, they’re prepping a follow-up project pointedly dubbed NO.

“That’s How Rumors Get Started” sees Nashville icon Margo Price commit her genre-bending rock-and-roll show to record for the first time, stretching out her emotive twang over sky-high soft-rock, burning psychedelic rock ballads, stomping road songs, and sprinkles of pop. With production from her friend and longtime collaborator Sturgill Simpson, it shows both of them pushing into unexpected directions.

The second volume in this series (Volume 1 is on 8.574005) continues to explore little-known examples of Auber’s elegant and refined operatic music. Julie was his first stage work, its fantasia-like beauty foreshadowing the operas, opéras-comiques and lyric dramas to come.

‘Miniature’ Beethoven! In our collective idea of the piano, Beethoven’s name is associated with the monument of the thirty-two sonatas, which have often been elevated to the status of the ‘New Testament’ beside the ‘Old Testament’ of Bach’s Well-Tempered Clavier.

"This collection of songs with voice and clarinet has at its heart Lori Laitman’s profoundly moving cycle I Never Saw Another Butterfly, which sets the words of hope and desolation written by children imprisoned in the Terezín concentration camp.

At only ten tracks, Greatest Hits is a little brief and doesn't contain much of his earliest material, but it remains a first-rate compilation of Bill Withers' prime hits, featuring "Use Me", "Ain't No Sunshine", "Lean on Me", "Who Is He (And What Is He to You)", and "Just the Two of Us".

Despite the import of the occasion - an October 1972 night at America's most prestigious hall - what really impresses about Bill Withers' Live at Carnegie Hall is the good feeling and sense of interplay passed between the star, his band, and the audience. From the surpassingly casual opening of "Use Me" and its build through eight-plus minutes and an extended ending to the complexity and occasional joy of Withers's socio-personal "Lean on Me", "I Can't Write Left-Handed", and a medley of "Harlem" and "Cold Bologna", Carnegie is an underappreciated document of what for a moment was progressive R&B. Always one of music's most humble performers, Withers quietly, intensely proves his mettle over the length of this album.