Here stands a glowing example of how the best metal bands are built for the long haul. With a burgeoning reputation as one of the most exciting new death metal bands around, Rivers Of Nihil hit the ground running with their 2013 debut album, "The Conscious Seed of Light". Although squarely rooted in technical death metal album, it was very obviously the work of a band with fewer creative limits than most. Since then, the Pennsylvania quintet have made giant leaps forward with each successive studio record, culminating in 2018's widely acclaimed "Where Owls Know My Name". At that point, it became obvious that Rivers Of Nihil were following a similar trajectory to Between the Buried and Me, in that they had transformed from an extreme metal band with progressive tendencies into a progressive metal band with extreme elements…

An important release and valuable discovery from the Spanish Baroque! Joan Baptista Cabanilles (1644-1712) wrote a substantial oeuvre for keyboard (organ and harpsichord), and a fine body of choral works; this new CD presents the first complete recording. Sung by Coro Amystis, who did extensive research into the works of this neglected Spanish composer. Liner notes written by the artists; sung texts available for download online.

Kim Carnes (born July 20, 1945) is an American singer-songwriter. She is a two-time Grammy Award winner noted for her distinctive raspy vocal style, which has drawn comparisons to Rod Stewart. She had her first solo top-ten hit with a cover version of "More Love" in 1980 and later achieved international success with her album "Mistaken Identity" which reached #1 in the USA in 1981, and yielded the international hit "Bette Davis Eyes".

This 1984 trio date offers a rare early chance to hear the Los Angeles-based pianist playing with New York City peers. Dissent or Descent offers food for thought on where Tapscott falls in the jazz style spectrum by teaming him with Ben Riley, a drummer linked to Thelonious Monk, and AACM-associated bassist Fred Hopkins. "As a Child" opens with nice melodic touches - the piano may be mixed a little low but it's not a crucial drawback since Tapscott is forceful enough and the rhythm section sensitive enough to overcome it. The prominent role Tapscott's left hand plays in his melodic conception makes Randy Weston comparisons come to life both here and on "Sandy and Niles." "To the Great House" is a high spot, insistently pushing and jabbing, with Hopkins switching from anchor to doubling the melody to playing countermelodies during the theme…

The music on this album dates from the composer’s later years, and are largely based on themes from his earlier successes. The inspiration for Holbrooke’s music was almost always literary; hence, the large number of symphonic poems and pieces with literary titles or subtitles in his work list. Almost all the 8 Nocturnes, Op. 121 employ material from some of Holbrooke’s most successful and popular earlier works. The music critic Ernest Newman, in an often quoted appreciation of the composer written in 1902, wrote that “…Holbrooke can do quite easily and unconsciously what [Richard] Strauss has only done half a dozen times in his career – he can write a big, heartfelt melody that searches us to the very bone…”, and these Nocturnes display Josef’s gift for lyricism.

NOW Music is proud to present the continuation to our Yearbook series, NOW - YEARBOOK 1984; a 4CD compilation featuring 78 defining hits that ruled the charts in 1984, including No.1s from Lionel Richie, Chaka Khan, Duran Duran, Frankie Goes To Hollywood and George Michael (solo and with Wham!), together with huge hits from Culture Club, Bananarama, U2, Spandau Ballet, and Deniece Williams.

Universal will issue a seven-CD Fairport Convention box set in July that features ‘key album tracks’, non-album singles, radio sessions and previously unreleased live recordings from all of the classic line-ups. This collection celebrates Fairport’s first 10 years, beginning with their eponymous debut for Polydor in 1968, through all of their albums for Island Records and finishing with tracks from their two albums for Vertigo, The Bonny Bunch of Roses and Tippers Tales.

When You're Strange: Music from the Motion Picture is the studio album and the soundtrack to the 2010 documentary film, narrated by Johnny Depp, about The Doors and their music. The soundtrack features 14 songs from The Doors’ six studio albums, with studio versions mixed with live versions, including performances from The Ed Sullivan Show, Television-Byen in Gladsaxe, Felt Forum in New York and The Isle of Wight Festival.

The New Southwest is a raw, mystical place. A land of sun-bleached rock and crusty, windswept desert blues. Magick runs deep in the earth here; a sense of the macabre too. Scoundrels and coyotes roam free, howling at the moon, as a seductive, psychedelic rhythm echoes over the horizon. XIXA, Tucson’s dark, dusty gothic overlords, have their genesis here; it has nurtured them, and it is home. It’s also the setting for Genesis, the new album that sees the band return triumphantly to their roots, and give voice to their most primal instincts.

The Very Best of Julie London offers an extensive overview of London's recording career with 50 selections she cut for Liberty Records between 1955 and 1969. The tracks are not newly remastered for the most part, but are taken from EMI's series of import two-fers and the domestic reissues Ron Furmanek and Bob Norberg produced in the early '90s. London was an album artist, not a singles artist - she had only one hit single in her long career - but she was a consistent favorite with adult contemporary and vocal jazz audiences and recorded over 20 LPs. Her albums often sustained a certain mood or assembled songs around a theme, but The Very Best of Julie London chops up her albums and rearranges the songs in no particular order - the repertoire and sequencing seem almost random…

The band's debut album, recorded sometime in 2007/2008 prior to the band's extended hiatus and originally released in a limited run of fifty handmade, screen-printed copies. Features the original Myrrors lineup of Nik Rayne, Grant Beyschau, and bassist Claira Safi, who also designed the now somewhat iconic sleeve. These are quite literally the first recordings made by the band, cut at Nik's house, quick and loose and on the fly. That original self-released edition sold out long ago, but the album has since been reissued internationally multiple times on CD, cassette, and LP by labels like Fuzz Club Records, Cardinal Fuzz, and Rewolfed Gloom.

Gerard Brooks (Organ), Langham Sinfonia. Directed by Noël Tredinnick (July 1992)

The "Fine Time" single preceded the New Order album on which it appeared, Technique, by two months. In the U.K., the up-tempo synthesizer track was one of the group's biggest hits, just missing the Top Ten. In the U.S., where it served as the follow-up to "Blue Monday 1988," it wasn't a chart record, but it did earn college radio play and help set up the album.

Robert Aiki Aubrey Lowe's score for the forthcoming Nia DaCosta-directed film, Candyman, is out next week via Waxwork Records.

"The young, Venezuelan pianist Walkiria Izaguirre who received her musical training in Vienna presents her debut CD with a pure Beethoven program, which features an early, a middle and a late piano sonata and thereby gives an overview of the master’s oeuv-re. In her own words, this album is a tribute to one of the most important figures in the history of music, whose musical creativity would reach an unexpected and wonderful development towards freedom and individual expression for eternity. The sonata in F major Op. 10/2 was called one of Beethoven’s most joyful works by Paul Badura-Skoda, the sonata in D major Op. 28 described by him as gentle, idyllic and light-filled to the brim, perhaps a response to the gloomier previous “Moonlight” sonata, a rejection of depression, a move towards friendlier climes, and is also called the “Pastoral” sonata. Finally, the sonata Op. 109 is kept in the ‘mystical’ key of E major, expressing exhilaration, rapture, earthly, and heavenly love. The variation movement’s theme is proof that, despite some contemporary critic’s judgement, Beethoven was indeed capable of writing beautiful melodies."