Gothic and industrial superstars bring a whole new level of psychedelic spookiness to the songs of Pink Floyd, featuring performances by Nik Turner (of Hawkwind), Chrome, Psychic TV, Spahn Ranch and more!

The new wave-flavored funk of this forgotten band is most notable for the participation of P-Funk keyboardist Bernie Worrell. The obvious debt to George Clinton is a bit too strong to ignore, though, and rather than evoking the abandon of Funkadelic, this disc is a bit too disco for funk comfort. That is not to say there aren't some good moments, such as this guitar frenzy on "Love Slave (Nose Job)" and the cozmik debris of "Your Mother" (with lyrics like "Your momma comes from Tokyo/She loves to rollerskate, you know"). A fun diversion.

The so-called French Suites are actually no more French stylistically than either of Bach's other sets of keyboard suites, the English Suites and the Partitas. They are a fascinating mixture of movements of differing national styles, primarily French and Italian, lacking an introductory movement such as a prelude and conceived for performers without the virtuoso technique demanded in particular by the Partitas.In the sleeve note for his 1961 recording on L'Oiseau-Lyre, reprinted for this newly remastered reissue, Thurston Dart argues persuasively for the use of what was supposed to have been Bach's favourite keyboard instrument, the clavichord. Softer in volume, the intimate clavichord also allows for more dynamic variation than the harpsichord, as well as subtleties of tone.

A car crash in March 1953 cruelly cut short the career of Roger Desormiere, who at the age of 53 had already established a reputation as one of the most insightful French conductors of his or any previous era. The resulting stroke left him barely able to communicate, incapable of work. His pupils, including Pierre Boulez, were distraught, but Desormiere clung on for thirteen painful years, eventually dying a broken man. Desormieres legacy on disc is a case of what might have been. Record companies showed little interest in recording the modern repertoire of which he was so stylish and dedicated an interpreter, at least the equal in this regard of Hans Rosbaud and Rene Leibowitz. His one indisputable classic of the gramophone is the 1941 HMV recording of Pelleas et Melisande, but he recorded much else for several different labels. The present set brings together all his Decca recordings for the first time, made in mono between 1947 and 1951, newly remastered and constituting a substantial tribute to a musician of manifold gifts.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil.

"Precious" is a song by Annie Lennox. It was released as the second single from her debut solo album, Diva, in 1992 and peaked at number 23 in the UK…

The orchestra's program of repertoire classics leavened by new music became a model for radio orchestras established across postwar Germany, and Schmidt-Isserstedt enjoyed an Indian summer as a symphonic conductor after beginning his career in operatic posts in Darmstadt, Hamburg and Berlin.

Zurich-born and trained, the conductor Robert Denzler (18921972) found a summer home in Bayreuth as an assistant to the likes of Hans Richter and Karl Muck. He thus established his Wagnerian credentials early on, and from 1925 to 1931 he ran an annual Wagner Festival in Geneva in cooperation with LOrchestre de la Suisse Romande. Later that decade he directed the premieres, in Zurich, of both Hindemiths Mathis der Maler and Bergs unfinished Lulu. Following the final rehearsal of a Die Walkre staging in 1951 the citys Grand Theatre was gutted by all-too-real fire, and Denzler directed the opera in concert at the Victoria Hall. One performance survives, revealing Denzler as an impulsive, incandescent Wagnerian in the mould of Artur Rodzinski: qualities which readily transfer themselves to the opulent Symphony by Ernst Chausson. This was the works first stereo recording, and both Denzler and the Decca engineers did it proud. Too little of Denzlers work is preserved on record, making this anthology of his complete Decca recordings all the more valuable. His work with the company began in May 1954 with sessions for a medium-play, 10-inch disc of two Berlioz overtures, well received for Denzlers accomplished sense of theatre and clarity of direction.

This double-LP is the only recording that exists of Cecil Taylor and his group (other than two songs on the bootleg Ingo label) during 1962-1965. Taylor's then-new altoist Jimmy Lyons (who occasionally hints at Charlie Parker) and the first truly "free" drummer Sunny Murray join the avant-garde pianist in some stunning trio performances recorded live at the Cafe Montmartre in Copenhagen. With the exception of an interesting version of "What's New" (which finds Lyons showing off his roots), the music is comprised entirely of Taylor originals and is atonal and full of power.

Future Memories is compiled by Interchill label DJ/A&R Nathalie Edell and features 10 previously unreleased tracks by top ambient and downtempo producers. With hypnotic beats, sublime atmospherics and delicate ambient textures this compilation reaches forward into uncharted realms while stirring up ephemeral recollections of days gone by. A perfect blend of chilled-out rhythms and open spaces, Future Memories offers the listener plenty of room to drift and groove. Unfolding in its own time, this stellar collection of tunes represents the sound of the ever-present moment. There are Eat Static, Tripswitch, Solar Fields, Carbon Based Lifeforms, Cell and others.

Although INXS needed to experiment badly, their attempt at self-reinvention, Welcome to Wherever You Are, didn't even come close to gaining commercial or critical acceptance. From the start of the album, it's clear that INXS are out to confuse the standard perceptions of the band; the first instrument on the album is an Eastern-flavored horn…

Little Richard, was an American musician, singer, and songwriter. He was an influential figure in popular music and culture for seven decades. Nicknamed "The Innovator, The Originator, and The Architect of Rock and Roll", Richard's most celebrated work dates from the mid-1950s, when his charismatic showmanship and dynamic music, characterized by frenetic piano playing, pounding back beat and raspy shouted vocals, laid the foundation for rock and roll. Richard's innovative emotive vocalizations and uptempo rhythmic music also played a key role in the formation of other popular music genres, including soul and funk, respectively. He influenced numerous singers and musicians across musical genres from rock to hip hop; his music helped shape rhythm and blues for generations to come.

Martin Rude (Sun River) & Jakob Skøtt (Causa Sui) team up for a genre-defying record that was recorded during an exceptional session on March 3rd 2020. Martin brought his Double Bass, Acoustic & Baritone guitar into the studio of Causa Sui, where Jakob's drums were already miked & prepped by soundwiz Jonas Munk, freshly tuned from the new Causa Sui recordings. The music they played ranges from sprawled out pre-fusion electric jazz to psychedelic folk ragas. After the sessions, the hours of free floating music was edited & dubbed by Jakob Skøtt into shorter cohesive segments, but maintaining the improvised vibe of these first takes.

orn in Lucerne in 1911, Albert Ferber studied with a pupil of Alfred Cortot and often played for Rachmaninov in Switzerland. International critics visiting the 1939 Lucerne Festival were impressed by an exceptional Swiss pianist who also showed in works of Schubert and Schumann some uncommon pianistic gifts. Such sympathy of idiom is readily apparent in Ferbers postwar Decca recordings, made in London. His pedigree in Schumann was unimpeachable: in 1951 he partnered Clara Schumanns pupil Adelina de Lara in a performance of Schumanns Andante and Variations, Op. 46 for two pianos at her Wigmore farewell recital.

Jan Smeterlin was a born Chopin interpreter on home soil. Presented here is a collection that includes rare and previously unissued recordings. Writing to Gramophone in 1965, a Royal Navy Commander stationed in India made an impassioned plea: I have heard Rubinstein, Ashkenase, even Paderewski, playing the Chopin Mazurkas None has approached the sublimity of Smeterlins playing of them. Please, some recording company, capture his magical performances while they are still available. The record companies did not share such convictions, and Smeterlin died two years later.