Susanna Hoffs is excited to release The Lost Record from her archives, recorded in 1999 with a group of friends in her garage. Written by Hoffs and Dillon O’Brian, “I Will Take Care of You” was recorded by The Bangles, but this is the elegant and raw version she always wanted to release. Hoffs describes that time as a “sweet, special period of being home with a new baby, but also an exploration of identity, separate from the Bangles. It’s an immense thrill to finally be able to share rare recordings that have been near and dear to my heart.” Musician-friends visited Susanna’s garage to write and record, including the Go-Go’s Charlotte Caffey and Jane Wiedlin. “The garage” has factored heavily in Susanna’s entire journey as a musician. “I love garage rock, many of my favorite songs were written in them, and I lived in garages during the 80s.”

Founded in 2018, the Dream House Quartet is bringing classical and contemporary music into completely new forms as a matter of course. The members can draw on decades of musical expertise: the two piano sisters Katia and Marielle Labèque - one of the most renowned piano duet who have never confined themselves to a single genre - are joined by Grammy-winning guitarist, composer and founding member of The National Bryce Dessner and composer, musician and producer David Chalmin, also on guitar. Together they perform radical commissions from visionary composers and key contemporary works from the past half century.

“Giorni Felici” è il nuovo album de La Rappresentante di Lista in uscita venerdì 25 ottobre 2024 per Woodworm/Numero Uno/Sony Music Italy. La cantante, attrice e autrice Veronica Lucchesi e il polistrumentista, autore e produttore Dario Mangiaracina, tornano con questo nuovo lavoro discografico, anticipato dai singoli “Paradiso” e “La città addosso” e proseguono il loro lavoro di costante ricerca musicale e tematica. “Giorni Felici” rappresenta una nuova evoluzione del suono de La Rappresentante di Lista, riconoscibile seppur sempre in movimento, che torna a esplorare sonorità care ai propri ricordi di crescita e formazione, inni generazionali che rimangono indelebili sulle ossa e come suggestione per scrivere l'oggi e la sua colonna sonora. I temi sono quelli cari al progetto: LRDL continua a scavare nell’emotività umana e a metterla in rapporto con l’altro e col mondo.

Louane revient avec « solo », un nouvel album qui nous montre une facette inédite de l'artiste. Elle s’affirme, embrassant pleinement ses émotions, sans crainte d'essayer de nouvelles choses ou de se mettre en danger. Après 11 ans de carrière, on découvre une œuvre dans laquelle l’artiste se réinvente et expérimente plus que jamais. Ce nouvel album célèbre les nombreuses facettes de sa personnalité, lui offrant, grâce à ceux qui l’accompagnent, une liberté inédite lui permettant d’exprimer son individualité. Une escalade en solo, sans filets, à la force de sa conviction et de son talent.

The full show across two discs, as recorded at the Savoy Theatre in London's West End.
Featuring the powerhouse London cast, 'Sunset Blvd: The Album' captures the thrilling energy of The Jamie Lloyd Company’s award-winning new production, and includes Andrew Lloyd Webber & Don Black's iconic songs, "As If We Never Said Goodbye" and "With One Look".

2024 Brand New Studio Album. Brand New Songs. “One of the most lyrical singers and interesting songwriters in the British folk-pop genre.” Richard Cromelin, Los Angeles Times. Iain Matthews has been such a prolific creator for so long that he’s unsure if How Much Is Enough? is his 53rd or 54thsolo album. What’s clear is that after a 60-year career including fronting seminal folk rock band Fairport Convention and hits on both sides of the Atlantic, he’s a man with little to prove but much still to say (even if he does threaten that each new record will be his last!). “I just felt that I needed to make one more solo album as a farewell gift,” he offered from his longtime home in the Netherlands. “But how does a songwriter retire? I honestly don’t know how to stop being a songwriter and don’t know if I ever will.” How Much Is Enough finds Matthews marrying his signature, eloquent folk rock to the sepia-tinted songcraft of Neil Finn, the wide-eyed, wistful wonder of a young David Bowie, and more recent influences including Elliot Smith and Hiss Golden Messenger. Fusing acoustic and electric instrumentation, it’s a record made by a man who didn’t need to make a record, and that purity and authenticity permeates its cultured songcraft and heartfelt lyricism.

Despite the elite circle of friends and colleagues – which included Corelli, Valentini, Scarlatti, Locatelli, and even Handel – that surrounded Giovanni Mossi, his fame as a composer did not last much beyond his 1742 death. As a violinist himself, it was only natural that his first published set of works would be a set of six sonatas for violin with cello and harpsichord. The influence of Corelli on Mossi's works is clear, yet Mossi branched out from the more rigid movement structure used by Corelli and did more to explore neighboring tonal areas. Performing these six charming works is Baroque violinist Leila Schayegh joined by violinist Ilze Grudele and harpsichordist Jörg Halobek.

Johann Sebastian Bach’s St Matthew Passion is widely recognised as one of the greatest masterpieces in Western sacred music. With its double orchestra and chorus this is a work of enormous proportions in every sense, and Bach was extremely resourceful in treading a fine line between creating the almost operatic spectacle valued by the secular authorities in Leipzig, and the elevated religious atmosphere sought by the clergy. This inspired mix of moving drama and theological discourse led Leonard Bernstein to declare that ‘there is nothing like it in all of music’.

Kenneth Gilbert is one of today's most outstanding harpsichordists. On this recording of works by J.S. Bach, he uses two different instruments by a modern maker based on period examples. The difference in the sound accentuates the contrasts between the two large-scale works and the more intimate pieces.

Originally recorded by Steve Albini and released in 1989, tweez has been remastered by Bob Weston at Chicago Mastering Service from the original analog master tapes. "Slint formed in 1986 as an outlet and pastime for four friends from Louisville, Kentucky. Their music was strange, wholly their own, sparse and tight. What immediately set them apart was their economy and precision. Slint were that rare band willing to play just one or two notes at a time and sometimes nothing at all… 1989’s “Tweez” LP hints at their genius…" - Steve Albini (Melody Maker, 1991). About the tweethan mix: Per Ethan Buckler (Slint bassist on tweez), “Finally - after thirty-five long years - the other guys in Slint decided to be nice to me and let me have my Tweez remix. I complained incessantly back in the day about how the Albini production style ruined our first recording.” In 2023, Ethan took the original multi-track recordings to a local studio in Louisville. Upon handing the engineer a copy of a pre-tweez Slint practice tape, he said “Make it sound like this.” This tweethan mix album is the result. Mastered by Bob Weston at Chicago Mastering Service.

Une comédienne fan de chanson et un musicien accro au cinéma : la rencontre entre Françoise Fabian et Léonard Lasry était inévitable. Six ans après le succès de son premier album éponyme (à l’âge de 85 ans !), l’héroïne de Ma Nuit chez Maud d’Éric Rohmer reprend le chemin des studios pour une série de chansons composées par Lasry, donc, et écrites par Élisa Point. Depuis quelques années, Point et Lasry se sont « spécialisés » dans les albums d’actrices mythiques, leurs deux principaux trophées étant Charlotte Rampling et Fanny Ardant. La couleur latino et trépidante de la chanson d’ouverture, Tant que je n'y pense pas, est une manière de souligner la vitalité intacte d’une Françoise Fabian désormais nonagénaire.

The Hollies' third album saw a band in the throes of transition between the Merseybeat and rock & roll with which they established themselves, and the folk-rock and soul music that was blowing the strongest winds of change in 1965. They clean up their backlog of cover staples with versions of tunes by Lloyd Price, Buddy Holly, and Roy Orbison, and delve into soul by taking on the Miracles' "Mickey's Monkey" and Curtis Mayfield's "You Must Believe Me." Their attempt at "Fortune Teller" won't make you forget the Rolling Stones' version; nor, for that matter, are any of the other covers impressive. That leaves five reasonably good originals, the best of which are the gorgeous "So Lonely" and the excellent Merseybeat knockoff "When I Come Home to You." They also sound Beatlesque on "I've Been Wrong," but "Too Many People" and their cover of Peter, Paul & Mary's "Very Last Day" hearken to a folk-rock direction.

Von den unvollständig überlieferten Werken Johann Sebastian Bachs geht ein ganz besonderer Reiz aus. Die Musik scheint zum Greifen nahe und gibt uns doch Rätsel auf. Wie mögen diese Werke geklungen haben? Auch die Kantaten Ehre sei Gott in der Höhe (BWV 197.1), Alles, was von Gott geboren (BWV 80.1) und Singet dem Herrn ein neues Lied (BWV 190.1) sind nur fragmentarisch überliefert – und doch faszinieren sie mit ihrer musikalischen Kraft. Der Eingangschor aus der Neujahrskantate BWV 190.1 beispielsweise gehört zu den klangprächtigsten Chorkompositionen Bachs überhaupt.

These five sonatas which form the Armonico Tributo make the best possible case for Georg Muffat as a composer of the first rank. He apparently drew together the French, German and Italian styles in a way that was unprecedented, and the result is surprisingly moving and brilliant, likely to make new listeners wonder: Muffat where have you been all of my life? In fact it is deeply seductive, often with beautiful harmonies and exquisite grace notes that really get under the skin in this fantastic ambiance. They are in effect like double violin sonatas with a small chamber accompaniment in which each part is taken by one instrument. Roy Goodman leads with aplomb in a period style that has no lack of emotional weight, and contributes a useful note that puts this neglected name into the context of his time, being born 40 years before Bach.

""En cette ville, on n’avait jamais entendu auparavant son égal en matière de composition et de pratique des instruments les plus variés…"" Nikolaus Bruhns, auquel on doit les plus belles cantates écrites avant Bach, n’a malheureusement pas eu le loisir d’exercer longtemps son art. Il est mort prématurément à l’âge de 32 ans.