In the midst of the Pandemic, The Goo Goo Dolls put on a real rock show of their most popular songs on a visually stunning Augmented Reality FanTracks Stage. From the heartfelt Indestructible for 45 minutes the band played their twenty+ song hit-laden back catalog for a career-spanning set live from Thunder Studios in Long Beach, California. Featuring the band's biggest hit, Iris with amazing HQ sound, the Goo Goo Dolls rock the virtual crowd, as they launch headfirst into Indestructible, as viewers get to enjoy the full slick, multi-camera angled show in all its glory. For over an hour the band plunder their twenty+ song hit-laden back catalog for a career-spanning set live from Thunder Studios in Long Beach, California. From new tracks like Miracle Pill to the big-hitters from their career like Black Balloon and Broadway, this was the band giving fans as much of the full Goo Goo Dolls live concert experience as they could, given the circumstances.

The Blue successfully expands on the sound experiment of Materia, the previous Novembre album, but also brings in elements from their earlier works. On some songs, it is easy to notice the mix of powerful death metal elements and the more mellow yet progressive side of Materia.
Contrary to their previous disc, The Blue exudes greater use of death metal-styled vocals and screams from Carmelo Orlando, but he hasn't abandoned his sombre clean tone completely. Actually, most of the tunes on The Blue boast his unmistakable clean singing a la Materia, such as "Cobalt of March" with its Ulverian intro and excellent guitar cascades; "Bluecracy" with its penchant for melodic guitar lines and groove-oriented rhythmic facade; or "Architeme" with its detailed Radiohead-like arrangement, something which has been carried over from Materia as well…

After the first two instalments, highly praised by the press – ‘one of the finest, most . . . thrilling performances of [the] Fourth Concerto’, wrote Gramophone – Kristian Bezuidenhout, Pablo Heras-Casado and the Freiburger Barockorchester close their Beethoven trilogy with the classical yet already eminently personal Concerto no.1, and that masterpiece of intensity and drama, Concerto no.3. Once again, period instruments and historically informed performance practice reveal the astonishing modernity that early listeners found in these works.

Part of Verve's Jazz in Paris series, Jazz in Paris: Cognac Blues features various tracks recorded by trumpeter Dizzy Gillespie during the '50s in France. All of the material included in the series is stellar and makes for excellent listening. The tracks are not necessarily rare, but are often ignored in favor of the more popular late-'40s Gillespie material. Fans and collectors looking for a great compilation of Gillespie's work overseas should appreciate this.

Tegan and Sara's 10th studio album, Crybaby, was recorded in Fall 2021 in Seattle and Los Angeles. Produced with John Congleton (Angel Olsen, Sharon Van Etten), Crybaby is a return to form, while also being something entirely new.

The ambitious Swiss electronic duo Yello comprised vocalist/conceptualist Dieter Meier - a millionaire industrialist, professional gambler, and member of Switzerland's national golf team - and composer/arranger Boris Blank. The two began collaborating in 1979 and debuted with the single "I.T. Splash." After a steady ascent, their star rose significantly with the inclusion of their 1985 single "Oh Yeah" in John Hughes' Ferris Bueller's Day Off. They consolidated their subsequent international success with 1988's "The Race," a Top Ten hit in seven countries. Next came a move into film, while maintaining a six-album run of Top Ten placings on the Swiss charts that stretched into the late '90s. Although Yello's releases became less frequent in the new century, the duo became even more successful in their homeland…