Falling halfway between musical primitivism and art rock ambition, Roxy Music's eponymous debut remains a startling redefinition of rock's boundaries. Simultaneously embracing kitschy glamour and avant-pop, Roxy Music shimmers with seductive style and pulsates with disturbing synthetic textures. Although no musician demonstrates much technical skill at this point, they are driven by boundless imagination – Brian Eno's synthesized "treatments" exploit electronic instruments as electronics, instead of trying to shoehorn them into conventional acoustic patterns. Similarly, Bryan Ferry finds that his vampiric croon is at its most effective when it twists conventional melodies, Phil Manzanera's guitar is terse and unpredictable, while Andy Mackay's saxophone subverts rock & roll clichés by alternating R&B honking with atonal flourishes.

"No Secrets," with its iconic cover image, is Carly Simon's third studio album and her first #1. Released in 1972, the record spent five weeks at the top of the Billboard charts. "No Secrets" blends the best of her pop/jazz/bluesy style and spawned four Top 20 hits including the #1 smash "You're So Vain," her powerhouse diatribe to a smug, conceited ex, featuring the back-up vocals of Mick Jagger. "The Right Thing to Do" was another major single, and one of her most gorgeous ballads ever. No one can mistake that voice, which has become one of the most recognizable and endearing in all of pop music. Richard Perry's simple, elegant production pays particular attention to the vocals that run the gamut of sweet to ferocious. It seems Carly Simon knows, intuitively, how to properly emote the feelings of each song to the listener…

Tom Waits’ Glitter and Doom Live doesn't fall into the various traps that many other concert recordings do, though it does have its problems. This double-disc set marks his third live effort in his nearly 40-year career, each one summing up his career to the point of its release. The first, Nighthawks at the Diner, issued in 1975 on Asylum, is regarded by many as one of the greatest live albums of all time. Big Time, released during his tenure at Island in 1986, is hotly debated in fan circles. It is likely that Glitter and Doom Live will be too, but for different reasons. The musical performances here were culled from Waits’ historic sold-out tour of the U.S. and Europe. He compiled and sequenced the tracks himself, intending to make them sound like a single show…

One of the greatest non-blue Note albums ever recorded by Art Blakey in the early days - an album that was originally only ever issued in France, as the material here was done for a great new wave film directed by Roger Vadim! The vibe here is nicely different than some of the more familiar Blue Note albums of the time - in part because the set is a soundtrack, done in a spirit similar to the great Miles Davis French soundtrack of the same period - but also because the album features a very special appearance from the young tenor star Barney Wilen - a key player on the French scene who'd also shown up on Miles' soundtrack, and who's equally great here with Blakey! The rest of the group echoes the Jazz Messengers of the period - with Lee Morgan on trumpet, Bobby Timmons on piano, and Jymie Merritt on bass - players who do a nice job of linking the album to other Blakey work…

With a history going back to 1971, Rebekka had a lot of time to become the refined and unique progressive they were. A Bavarian combo, starting with heavy rock, moving on to folk and Indian ragas in the mid-1970's, becoming Rebekka proper in 1977. Having female vocals (sometimes in English, sometimes in German) and taking on influences of classical and folk musics, like early Renaissance, as well as ethnic and Indian musics, their debut Phoenix sounded like a symphonic progressive twist on early Hölderlin. In demand for theatre productions and such like, Rebekka were off the scene for some time, until Phoenix was rediscovered and gained a repress.

Martin Gore has famously noted that Depeche Mode stopped worrying about its future when the first post-Vince Clarke-departure single, "See You," placed even higher on the English charts than anything else Clarke had done with them. Such confidence carries through all of A Broken Frame, a notably more ambitious effort than the pure pop/disco of the band's debut. With arranging genius Alan Wilder still one album away from fully joining the band, Frame became very much Gore's record, writing all the songs and exploring various styles never again touched upon in later years. "Satellite" and "Monument" take distinct dub/reggae turns, while "Shouldn't Have Done That" delivers its slightly precious message about the dangers of adulthood with a spare arrangement and hollow, weirdly sweet vocals…

Bach's sonatas for viola da gamba and keyboard, BWV 1027-1029, were partly adapted for other works, and there's nothing outrageous in itself about playing them on a cello. Indeed, the gamba was a fairly old-fashioned instrument by Bach's time, and the present performance may well be historically authentic, as the booklet contends. German cellist Nicolas Altstaedt tones down his instrument, so to speak, by using a low tuning intended to reproduce the gamba's more intimate quality. Nevertheless, this is an unusual reading, one that makes the music much darker and more dramatic than it usually is, or, perhaps, was intended to be.

The performance of the St. Matthew Passion at the 1950 International Bach Festival still carries an enormous reputation. The Wiener Singverein and the Wiener Symphoniker were conducted by Herbert von Karajan. The singers were all said to be among the best of the early postwar period, and Kathleen Ferrier was at the peak of her tragically short career. And even his detractors had to admit that in the immediate postwar period Herbert von Karajan was at his least narcissistic when he was feeling slightly chastened by having picked the losing side and slightly nervous that someone might hold his choice against him. We are gratified that „Andante“ has reissued the performance and thrilled with the excellence of the digital remastering and with the richness of their packaging.

This new album release by the Finnish Radio Symphony Orchestra under Hannu Lintu presents a new contemporary voice within Finlands contemporary music scene: Antti Auvinen. This album includes three recent orchestral works by the composer marked by highly pressurised and explosive rhythms and sounds. The premieres of Antti Auvinens (b. 1974) Junker Twist (2015) and Himmel Punk (2016) in the mid-2010s electrified the scene of Finlands contemporary music: music critics felt that a new major voice in the countrys music scene had been born. Auvinens works are often thematically connected to events in the surrounding society.

Dinosaurs, formed in 1982, was an American, Bay Area-based supergroup, that emerged from the psychedelic music era of San Francisco.

50 Jahre früher lebte und wirkte am Salzburger Hof Georg Muffat, allerdings nicht unumschränkt, musste er sich doch die musikalische Arbeit mit lgnaz Franz Biber teilen. Galt letzterer als bester Geiger seiner Zeit, so war Muffat »das Haupt der katholischen Orgelspieler«.

“I’ve wanted to record Elgar’s violin concerto for a long time,” says Vilde Frang. “It really is a journey … Such a vast piece of music with such an original structure and so many impulses and ideas … You need to take the time to savour all these moments … That is part of the magic of the piece.” She has now recorded the epic concerto with the Deutsches Symphonie-Orchester Berlin and its music director, Robin Ticciati. The album is completed with a delightful short piece by Elgar, Carissima, in a version for violin and piano (played by Thomas Hoppe). “There are some hidden messages in the concerto,” continues Frang. “It actually starts with the answer, and then after it comes all the questions … Playing it is almost a meditative experience.” When she performed the work in the UK in 2023, the Guardian wrote: ““Not only did Frang deal with its virtuoso demands as though they barely existed, but her extraordinarily beautiful tone … seemed to honour the source of Elgar’s inspiration with a startling immediacy.”