8 discs Deluxe Edition Box Set - the next installment in the award-winning Bootleg Series. "Trouble No More - The Bootleg Series Vol. 13 / 1979-1981", focuses on the albums 'Slow Train Coming' (1979), 'Saved' (1980) and 'Shot of Love' (1981) and the legendary live shows from that period.

The soundtrack to the 1995 Jim Jarmusch western-themed film of the same name starring Gary Farmer and Johnny Depp as William Blake.

Dolly Parton's 1973 album "Bubbling Over" is probably one of her better in-studio solo records from her early years with RCA Records, yet very few know much about it.

All Blues, the forthcoming covers album from the Peter Frampton Band, is set for release on June 7 via UMe.

This album is a late recording by the legendary Thomas Beecham. Much like some of his contemporaries (such as John Barbirolli), Beecham enjoyed composing witty pastiches and transcribing the old masters.

The sessions that changed the world - "The Cutting Edge 1965-1966: The Bootleg Series Vol. 12" collects outakes, rehearsals and alternate versions of songs that would later be heard on "Bringing It All Back Home", "Highway 61 Revisited" and "Blonde on Blonde". 3 albums that would go on to change the face of rock and roll forever. The Bootleg Series combs the Dylan vaults for unreleased and live recordings, and this may be the very best yet showing Dylan at his "electric" period. Importantly, "The Cutting Edge 1965-1966: The Bootleg Series Vol. 12" provides a rare exploration into Dylan's creative process in the studio, allowing fans to experience another side of Bob Dylan through the evolution of his songs and recordings from this truly groundbreaking period. This Deluxe edition is 111 tracks in six sets.

"Cantate Domino", recorded by legendary sound engineer Bertil Alving in 1976, is widely regarded as one of the greatest audiophile masterpieces ever recorded. Opening with Enrico Bossi's "Cantate Domino" for choir, organ, trumpets and trombones, the choral album includes a number of Swedish folk songs as well as pieces by Handel, Otto Olsson, and others. The famous reference record is now made even better with this new hi-definition release.

It was Thursday November 30th 2022. We took to the stage at the Komedia in Bath, our first UK tour since Dingwalls in 2017. We had our ever-patient compadre Rob Reed and his troupe of cheerful professionals in tow and not only did they have a load of top-of-the-range cameras with them, they had the talent and expertise to make us look presentable. We were determined to succeed and well…we only went and bloody did it, didn’t we? What we have here is that very film, on a glorious Blu-ray, and I hope you enjoy it as much as we did making it.

Ceti ‘ means ‘ communication with extraterrestrial intelligence ‘ and that kind of sums up this 6 mini cdr boxset with mini polaroids and datasheet etc etc. The music over the 6 x 20 minute ep’s varies between rhythmic electronica all the way into ‘ et ‘ inspired soundscape works and with an emphasis in this collection on colourful sound design and futurism. This is essentially a box set of more early virtual projects and tracks including more kinetic works and experimental electronica of sorts.

Pink Tape is the third studio album by American rapper and singer Lil Uzi Vert. It was released through Generation Now and Atlantic Records on June 30, 2023. The album features guest appearances from Travis Scott, Nicki Minaj, Bring Me the Horizon, Don Toliver, and Babymetal. Production was handled by a variety of record producers, including Bring Me the Horizon themselves, Don Cannon, Brandon Finessin, Arca, BNYX, Oogie Mane, Cubeatz, WondaGurl, Bugz Ronin, Ken Carson, Bobby Raps, Rick Rubin, Serj Tankian, Daron Malakian, Maaly Raw, Kobametal, Wheezy, and Charlie Handsome, among others.

A truly landmark jazz recording, 1961’s "Waltz for Debby" redefined the possibilities of the piano trio. Scott LaFaro’s ultra-melodic bass-work, Paul Motian’s fluid drumming, Evans’ virtuosic, impressionistic playing and the trio’s nearly telepathic interplay set a standard that has yet to be exceeded. This hi-res remastering adds new depth and warmth to an already essential audiophile live set.

"From Darkness" sees the Israeli composer, bassist and singer go back to the very core of his musical idiom and activity, but with Avishai, what may seem as a return to the basics always brings the promise of a new beginning. "From Darkness" once again opens an essential gateway into a new creative and expressive dimension. It is the first time since Gently Disturbed that I have the feeling I am reaching a new, fresh and incredibly substantial form with the trio. A belief reinforced by two outstanding partners, pianist Nitai Hershkovits and drummer Daniel Dor. Both Nitai and Daniel take my music to places and perspectives that I had never suspected it would go and I couldn t dream of anything better. Avishai goes on to describe this chemistry between them as; Here, three becomes one.

"They Want My Soul" is Spoon’s most straight-up, direct and concise rock album ever; a certain “return to form” as a straight up American rock band, and a restoration of Spoon’s trademark authority, confidence and swagger. The music runs a gamut from AC/DC-esque guitar-driven songs like the opener “Rent I Pay” to stunning cosmic space disco tracks like “Outlier” to delicately pensive album standout “Inside Out”.

"Arborescence" is the word for the way something grows, seeking and adaptive, like a tree - its roots and branches moving under and around things wherever they need to go toward water, toward the sun. Prize-winning young American pianist Aaron Parks titled his ECM debut Arborescence because the album's music is the fruit of a session of solo studio improvisation in which little was predetermined; the pieces developed in the moment like "living things", in the artist's words. “The music felt as if it were coming into being and going where it had to go, in that sort of arboreal way”. It's possible to hear fleeting echoes in this music of Arvo Part and Paul Bley, Erik Satie and Kenny Wheeler; but Arborescence is ultimately something deeply individual and intimate, recorded with the lights down low in the warm, clear acoustics of Mechanics Hall in Worcester, Massachusetts.

The recent Kozeluch revival, featuring recordings of his solo, chamber and orchestral music, has demonstrated his status as one of the most important figures in the whole of Viennese Classicism. This double album dedicated to Kozeluch’s works for fortepiano four-hands provides further confirmation of his compositional mastery, on a level bearing comparison with his contemporaries.